——William Butler Yeats
is very strange. After watching the last shot of Herzog’s "Nosfaratu", I remembered Yeats’s poem . Translated into Chinese roughly: "cast cold eyes, watch life, watch death; knight, move forward." You know, in the movie, this knight is the new vampire Jonathan Hack.
As a tribute to his predecessor, Murnau, Herzog accidentally photographed it as one of his masterpieces. Compared with the original silent film 50 years ago, this version has a more melancholic tone, a little muddy, and a slightly weaker image impact. It is not like Mornau's silver hook and iron plan, which is a final word. The shape of the vampire can be said to be a copy of the original. The classic scenes in the original work are also reproduced in color film, such as the vampire in the coffin, the vampire who hangs out in the streets holding his coffin, the vampire who puts himself in the coffin, and the sullen eyes in the window frame because of love. Vampire...
Just when all this seems to indicate that Herzog is going to make a proper tribute, the director cunningly refutes the original classical standpoint at the end of the movie. Murnau concluded that at the moment when the vampire was melted by the morning light, the vampire was cleared out of this world, leaving no traces of it, and that mankind had achieved a complete victory. As a holder of modern pessimistic philosophy, Herzog obviously does not approve of such an outcome. So its vampire was only knocked to the ground by the morning light, and the fallen flesh still occupies the volume in the world, and it needs additional blows to die. It can be said that this vampire is more "human". More importantly, the death of this vampire does not represent the victory of mankind. Because at the same time, Jonathan Hack, the first victim of the vampire, turned into a new vampire. In the morning sun, the horse set off a new round of tragic expedition on the vast land of mankind...
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