phantom der nacht

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Nosferatu the Vampyre

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• Gisela Storch

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• Outstanding Single Achievement
• Henning von Gierke

• Werner Herzog

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• Klaus Kinski

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• Best Performance by an Actor in a Leading Role (Beste darstellerische Leistung - Männliche Hauptrolle)

• Best Performance by an Actress in a Leading Role (Beste darstellerische Leistung - Weibliche Hauptrolle)
• Isabelle Adjani
• Best Direction (Beste Regie)
• Best Production Design (Bestes Szenenbild)
• Henning von Gierke (production design)
• Gisela Storch (costume design)

• Best Cinematography (Beste Kamera/Bildgestaltung)
• Jörg Schmidt-Reitwein

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• Nosferatu - Phantom der Nacht

Nosferatu - Phantom der Nacht ist ein Vampirfilm aus dem Jahr 1979 von Werner Herzog mit Klaus Kinski und Isabelle Adjani .

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Der deutsche Arthouse-Vampir-Horrorfilm Nosferatu - Phantom der Nacht  (1979) von  Werner Herzog  erzählt als Remake von  Nosferatu, eine Symphonie des Grauens  (1922) die Geschichte von Jonathan Harker ( Bruno Ganz ) und seiner jungen Frau Lucy ( Isabelle Adjani ), die in die Machenschaften des Grafen Dracula ( Klaus Kinski ) verwickelt werden. (ES)

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Produktbeschreibungen

Jonathan Harker ist alles andere als begeistert, als er den Auftrag erhält, von Wismar ins ferne Transsylvanien zu reisen. Dort interessiert sich ein gewisser Graf Dracula für den Kauf eines Hauses in der Hansestadt. Schweren Herzens verabschiedet er sich von seiner geliebten Frau und reitet los. Er ahnt nicht, welches Grauen ihn erwartet... Bonusmaterial: Kommentar von Werner Herzog; Making Of; Fotogalerie; Soundtrack (Auszüge);

Produktinformation

• Seitenverhältnis ‏ : ‎ 16:9 - 1.85:1
• Alterseinstufung ‏ : ‎ Freigegeben ab 16 Jahren
• Produktabmessungen ‏ : ‎ 13,9 x 1,4 x 19,1 cm; 83,16 Gramm
• Medienformat ‏ : ‎ Dolby, PAL, Surround-Sound
• Laufzeit ‏ : ‎ 1 Stunde und 45 Minuten
• Erscheinungstermin ‏ : ‎ 30. September 2003
• Darsteller ‏ : ‎ Klaus Kinski, Isabelle Adjani, Bruno Ganz, Jacques Dufilho, Roland Topor
• Untertitel: ‏ : ‎ Unbekannt
• Sprache, ‏ : ‎ Nicht qualifiziert (DTS-HD Master Audio 5.1), Deutsch (Dolby Digital 2.0 Surround), Deutsch (Dolby Digital 5.1)
• Studio ‏ : ‎ STUDIOCANAL
• ASIN ‏ : ‎ B0000AVV8D
• Anzahl Disks ‏ : ‎ 1
• Nr. 2,599 in Fantasy (DVD & Blu-ray)
• Nr. 4,043 in Horror (DVD & Blu-ray)
• Nr. 8,224 in Krimi (DVD & Blu-ray)

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Nosferatu the Vampyre (1922) ( Nosferatu: Phantom der Nacht ) [ NON-USA FORMAT, Blu-Ray, Reg.B Import - Germany ]

• Blu-ray $30.00
• Multi-Format $19.37
• VHS Tape $6.60

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Product Description

NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English audio.

Product details

• Aspect Ratio ‏ : ‎ 1.77:1, 1.85:1
• MPAA rating ‏ : ‎ Unrated (Not Rated)
• Product Dimensions ‏ : ‎ 5.28 x 0.79 x 5.28 inches; 2.86 Ounces
• Director ‏ : ‎ Werner Herzog
• Media Format ‏ : ‎ Import, Widescreen, Blu-ray
• Run time ‏ : ‎ 107 minutes
• Release date ‏ : ‎ January 24, 2013
• Actors ‏ : ‎ Klaus Kinski, Isabelle Adjani, Bruno Ganz, Roland Topor, Walter Ladengast
• Subtitles: ‏ : ‎ English
• Producers ‏ : ‎ Nosferatu the Vampyre (1922) ( Nosferatu: Phantom der Nacht ), Nosferatu the Vampyre (1922), Nosferatu: Phantom der Nacht
• Language ‏ : ‎ German (DTS-HD 5.1), English (DTS HD), German (DTS HD)
• Studio ‏ : ‎ KINSKI KLAUS
• ASIN ‏ : ‎ B0095XZ7VA
• Country of Origin ‏ : ‎ Germany
• Number of discs ‏ : ‎ 1
• #11,604 in Drama Blu-ray Discs

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The Return of the Corpses. Nosferatu, Phantom der Nacht (Werner Herzog).

2020, The Corona Crisis in Light of the Law-as-Culture Paradigm

The Käte Hamburger Kolleg of the University of Bonn has asked philosophers, historians, sociologists and jurists to write a text on the Corona Crisis in Light of the Law-as-Culture Paradigm. I contributed with a text based on the film "Nosferatu" by Werner Herzog. I hope you enjoy reading it.

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Kwartalnik Neofilologiczny

In this comparative study of Angela Carter's " The Lady of the House of Love " (1979) and Werner Herzog's Nosferatu: Phantom der Nacht (1979) eating habits, relation to the domestic and to (ir)rationality are examined in the female and male characters in both works to show how their authors create gender hybridity. Drawing upon Eve Kosofsky Sedgwick's Between Men: English Literature and Male Homosocial Desire (1985), the article proposes that the hybridity reproduces patriarchal transfer of power.

Deborah Griggs

This paper examines themes of Eros in traditional vampire narratives. Discussed are the seminal 19th century texts by Polidori, Le Fanu, and Stoker; four major cinematic Stoker adaptations (Murnau, Herzog, Browning, Coppola); and the Sookie Stackhouse novels. The paper posits that "contemporary vampires inadvertently express a deeply disturbing poverty of Eros and a perhaps still subliminal horror of the externalization of identity and the materialism that are American consumerist society's primary values."

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Olivier Castel

A vampire is a non-dead and non-alive chimerical creature, which, according to various folklores and popular superstitions, feeds on blood of the living to draw vital force. Vampires do not reproduce by copulation, but by bite. Vampirism is thus similar to a contagious disease contracted by intravascular inoculation with a suspected microbial origin. In several vampire films, two real bacteria were staged, better integrated than others in popular imagination: Yersinia pestis and Treponema pallidum. Bacillus vampiris was created for science-fiction. These films are attempts to better define humans through one of their greatest fears: infectious disease. Résumé Un vampire est une créature chimérique ni morte et non vivante qui, suivant divers folklores et superstitions populaires, se nourrit du sang des vivants afin d'en tirer une force vitale Les vampires ne se reproduisent pas par copulation mais par morsure. Le vampirisme s'apparenterait ainsi à une maladie contagieuse par inoculation intra vasculaire dont on peut soupçonner une origine microbienne. Dans les nombreux films de vampire le cinéma a mis en scène deux bactéries bien réelles, mieux intégrées que d'autres à l'imaginaire collectif : Yersinia pestis et Treponema pallidum. Pour la science-fiction, il a créé Bacillus vampiris. Tous ces films sont autant de tentatives pour cerner un peu mieux l'individu au travers de l'une de ces plus grandes craintes: la maladie infectieuse.

Norbert Spehner

Wiley-Blackwell Encyclopedia of the Gothic 2 vols

Stephen Carver

5000 word essay in: W. Hughes, D. Punter & A. Smith eds, Wiley-Blackwell Encyclopedia of the Gothic 2 vols. (London: Wiley-Blackwell 2012). (Other entries: David Cronenberg; Hammer Films; W.H. Ainsworth; Thomas De Quincey; John Polidori; Regency Tales of Terror; Monster Movies; Richard Matheson.) This is an historical overview of the form from early European and American silent adaptations of Gothic novels and Victorian theatre to the hyper-real twenty-first century Hollywood product, via Expressionism, Universal Studios, Hammer Films, Mario Bava, and Roger Corman’s ‘Poe Cycle’ for American International. The full entry includes close readings of Robert Weine’s influential and often imitated Das Cabinet des Dr. Caligari (1920), F.W. Murnau’s Nosferatu, eine Symphonie des Grauens (1922), and James Whale’s Bride of Frankenstein (1935). The paper also considers period revivals such as Coppola’s Bram Stoker’s Dracula (1992) and Mary Shelley’s Frankenstein by Kenneth Branagh (1994), as well as more contemporary Gothic film, in particular the current trend for franchised vampires. I conclude that the synergy of the literary gothic, stage melodrama, and Expressionism that characterises Gothic film now finds its purest form in the films of Tim Burton and Guillermo del Toro.

João Chagas

The story of the Count Dracula has been told and re-told over more than a century through various media and, thus, granted with several new views, informations, characters and facts. That did not lessen the value of the original novel, but only confirmed its recognition. Film and literary critics history has shown a curve of evolution in their practice, from the seek of Swiss-clock accuracy to the opening for the oceans of inter-textuality. This paper compares the different languages that are Cinema and Literature, reflecting on how the adaptations could never reach the degree of similarities critics prayed for whilst comparing the novel to five film adaptations.

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Mihai Iacob

The topic of this paper is part of a larger research project that aims to question the validity of the concept of Transylvanism and its potential use in the marketplace of ideas, together with similar, firmly established notions, like, for example, Orientalism, defined by Edward Said, and Balkanism, discussed by Maria Todorova. It presents an analysis of only one segment of the Transylvanian discourse (vampire films) 1 , in order to emphasize the two main paradigms that cinematic representations about the Transylvanian space share, namely the (more traditional) symbolic paradigm and the (updated) pseudo-realistic. Two of the key-features of these paradigmatic visions will also commented upon: heterogeneity and mobility. Most vampire fiction─even Bram Stoker's famous novel (1897)─identifies the name Transylvania with Count Dracula's homeland, a wild and backward country, at the end of the civilized world. 2 This image, a highly effective vehicle for the dissemination of geographical, historical, ethnic, ethnographical, and political information, is closely related to the survival of not only the clichés from gothic literature but also the hegemonic Western views over Eastern, especially Balkan, otherness. Nevertheless, apart from the ideological issues─which on the hole are still valid today, as has been proved by Edward Said and Maria Todorova, amongst others–we have to take into account the fact that the image of Transylvania as a cultural construct has been created mostly in the realm of literature and film. 3 It is precisely the distinctively unreal and fictional nature of this image that may set Transylvanism apart from the ideological constructs referred to above as Orientalism and Balkanism, created by literature and art, in general, as well as by a large corpus of non-fictional texts (historiography, travel memoires, newspaper articles, reports and political discourses, etc.). It is mainly because of the importance of non-293 fictional texts that Orientalism and Balkanism have gradually become two institutionalised, organised, didactic and politically instrumentalised discourses, while Transylvanism is still relegated to the field of fiction and popular culture.

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Nosferatu the Vampyre

Original title: nosferatu - phantom der nacht.

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Currently you are able to watch "Nosferatu the Vampyre" streaming on fuboTV, AMC+ Amazon Channel, AMC+, Shudder, The Film Detective, Shudder Amazon Channel, Fandor Amazon Channel or for free with ads on Peacock, Peacock Premium, The Roku Channel, Tubi TV, Redbox, Crackle, Popcornflix, Pluto TV, Freevee. It is also possible to rent "Nosferatu the Vampyre" on Redbox, Microsoft Store, Amazon Video, Google Play Movies, YouTube, Apple TVonline and to download it on Microsoft Store, Redbox, Google Play Movies, YouTube, Apple TV, Amazon Video.

Jonathan Harker, a real estate agent, goes to Transylvania to visit the mysterious Count Dracula and formalize the purchase of a property in Wismar. Once Jonathan is caught under his evil spell, Dracula travels to Wismar where he meets the beautiful Lucy, Jonathan's wife, while a plague spreads through the town, now ruled by death.

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Nosferatu the vampyre.

1979 ‘Nosferatu - Phantom der Nacht’ Directed by Werner Herzog

Nosferatu… he who is doomed to wander alone in darkness

Jonathan Harker, a real state agent, goes to Transylvania to visit the mysterious Count Dracula and formalize the purchase of a property in Wismar. Once Jonathan is caught under his evil spell, Dracula travels to Wismar where he meets the beautiful Lucy, Jonathan's wife, while a plague spreads through the town, now ruled by death.

Klaus Kinski Isabelle Adjani Bruno Ganz Roland Topor Walter Ladengast Martje Grohmann Carsten Bodinus Beverly Walker Jacques Dufilho Clemens Scheitz John Leddy Rudolf Wolf Štefan Husár Lo van Hensbergen Johan te Slaa Jan Groth Bo van Hensbergen Claude Chiarini Margiet van Hartingsveld Tim Beekman Roger Berry Losch Rijk de Gooyer Dan van Husen Werner Herzog

Director Director

Werner Herzog

Producers Producers

Werner Herzog Michael Gruskoff Daniel Toscan du Plantier

Executive Producer Exec. Producer

Walter Saxer

Writer Writer

Original writer original writer.

Bram Stoker

Editor Editor

Beate Mainka-Jellinghaus

Cinematography Cinematography

Jörg Schmidt-Reitwein

Composers Composers

Popol Vuh Florian Fricke Charles Gounod Richard Wagner

Sound Sound

Harald Maury

Costume Design Costume Design

Gisela Storch Ann Poppel

Makeup Makeup

Dominique Colladant Reiko Kruk

Werner Herzog Filmproduktion Gaumont ZDF

Germany France

Original Language

Spoken languages.

German English

Releases by Date

25 feb 1979, 01 oct 1979, 17 jan 1979, 15 feb 1979, 15 mar 1979, 26 mar 1979, 12 apr 1979, 14 apr 1979, 05 oct 1979, 19 jan 2015, 01 aug 2010, releases by country.

• Theatrical 15
• Theatrical U
• Premiere Berlin International Film Festival
• Theatrical 16
• Theatrical VM14

Netherlands

• Theatrical 6
• TV 6 Nederland 2
• Physical 6 DVD
• Theatrical 12
• Premiere New York Film Festival
• Theatrical PG New York

107 mins   More at IMDb TMDb Report this film

Popular reviews

Review by Josh Lewis ★★★★ 15

A movie about a normal guy who risks it all for a taste of Isabelle Adjani.

Review by Branson Reese 6

As a society we should be working together to prevent the circumstances that could create a man such as Klaus Kinski. But I'm no pie in the sky idealist. I've seen who you idiots vote for. I know we're not gonna do that any time soon. So in the meantime I concede that our next best option as a global community is to dress these men up in bald caps and finger extensions and let them play Draculas. I hope Eggers casts a real life serial killer in his version. Sure people will whine, but these people are going to whine no matter what, just like how serial killers are going to serial kill. It's just nature, like the plague rats in this movie. You can even execute the serial killer right after shooting wraps. "That's a wrap on Mitchell Patrick Cameron, everybody!"

Sorry if that's a real guy's name.

Review by matt lynch ★★★★

"Do you think we've all gone mad, and that one morning we'll all wake up and find ourselves in straight-jackets?"

Review by Naughty aka Juli Norwood ★★★½

Breathtaking cinematography capturing the wretched, tortured soulless creature Dracula (Klaus Kinski) in full blown melancholy due to loneliness and wish to escape his immortal imprisonment!

Review by ScreeningNotes ★★★★★ 6

The strangest thing about Werner Herzog's Nosferatu is that I consider it a perfect remake of the original Nosferatu as well as easily the best vampire movie I've ever seen, but despite all that it still somehow doesn't live up to the promise made by the absolutely incredible opening credits. The movie begins with footage of real life mummies and incredibly creepy orchestral music. It brings into focus the ideas of death, the afterlife, eternity, and the undead, all of which will form one of the many thematic kernels of the forthcoming narrative. It gave me chills. The music is brought back later and overall I absolutely loved the movie, but there's something truly haunting about this opening which is…

Review by Dyrnott ★★★★

An excellent movie! Directed by Werner Herzog and staring the legendary Klaus Kinski as Count Dracula and featuring the famed actress Isabella Adjani as Lucy! The movie starts out the typical way most tales of Count Dracula are told. Then becomes a very symbolic artistic interpretation which I won’t spoil the ending but ends like no other tailing. It is a must see! Check it out!

Review by Colin Burgess ★★★★ 1

they should have known that guy was a vampire

Review by Joshua Dysart ★★★★★ 5

How do you become Werner Herzog?

There are many ways, and Herzog, being the actual man himself, obviously has done them all, but one of those ways is to set out to remake one of the greatest films of all time some fifty-seven years after the original dropped and then you fucking nail it.

Another way is to release 11,000 rats all at once and make sure the camera is rolling (actually I think he only got 5,000 rats released because Herzog is a narcissistic asshole who was commonly cruel to animals for his art during this period of his career, and he managed to accidentally kill more than half of his stock through mis-care before he even got the…

Review by Will Sloan ★★★★★

Amazing how much more sensitive I get to certain things as I get older. When I saw this at age 13, I didn't have any reaction at all to the images of mummified corpses in the opening credits. Now? They really creep me out! This whole movie is insanely spooky. It just makes you sit in these images of rot and abjection. There are some funny moments, but no camp. It takes vampires seriously, and wants us forget we've seen Bela Lugosi or Christopher Lee or their many imitators.

This was my first Werner Herzog movie, and I rented it assuming it would be an ordinary horror movie. I didn't know who Herzog or Klaus Kinski were at the time.…

Review by shookone ★★★★½

what a full blown homage to the original, to the genre, to german expressionism, to film in general. might be Herzogs best. wasn't aware how good his gothic ride actually is.

sets, decoration, framing, score, lighting - everything is absolutely stunning. some of the most impressive images and filmic moments I've seen in a while. breathes pure love for the art form. what a master Herzog was (/is). a true craftsman taking on big tasks, as we all know , but here his whole sketchbook really comes together.

the stiff endeavors of the rest of the players - slightly comedical - highlight even more the exhausted, overwhelmed, existentialistic act of Klaus "born for this role" Kinski. set into the right light…

Review by brendan o'hare ★★★★

Why is he so obsessed with blood. Get a grip

Review by 20oldboy03 ★★★★ 9

English Version below

Vampirtage die Vierte (4/4)

Hu, ha, hu, ha Hu, ha, hu, ha Hu, ha, hu, ha Hu, ha, hu, ha Hu, ha, hu, ha, Hu, ha, hu, ha

Er rannte wie die Farbe im gemütlichen Schritt: Graf Dracula (ha, hu, ha) Er ganz voran, und niemand hintendran: Graf Dracula (ha, hu, ha) Seine Klauen, die kratzen ganz geschwind Trugen Angst und Schrecken in das umliegende Land Und weder Kruzifix noch Felix hielten mit ihm mit

Dra-, Dra-, Dracula He Graf, ho Vampire, he Graf immer weiter! Dra-, Dra-, Dracula Auf Brüder, sauft Brüder, beißt Brüder immer wieder! Lasst noch Hälse holen (hohoho) Denn wir sind Vampire (hohoho, hahaha) Und die Kirche kriegt uns früh genug.

Dra-, Dra-,…

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• One-shot antagonists
• View history

Nocturn [1] is the ghost of sleep and dreaming. He commands an army of Sleepwalkers to do his bidding. He is also one of the most powerful of Danny 's foes (alongside Undergrowth , Vortex , and Dark Danny ).

• 2 Appearance
• 3 Personality
• 5 Weaknesses
• 6.1 Season 3
• 10 References

History [ ]

In " Frightmare ," Nocturn and his army of Sleepwalkers made the entire citizenry of Amity Park fall into a deep slumber, slipping a metal helmet on each person's head to keep them asleep. He made a hideout in the local mattress factory near the harbor of Amity Park , with a giant antenna on top to absorb the dream energy from the city.

Danny Phantom defeated him in his dream with the help of Tucker , Sam , and Jazz .

Nocturn makes another appearance in the series finale, " Phantom Planet ." Seen only in a few frames, he is one of the many ghosts who help Danny save Earth .

Appearance [ ]

Even when weakened, Nocturn is a very tall ghost, clearly over 7 feet (2 meters) tall, although he can grow and shrink at will); his body looks like the night sky, dark black with shining dots in it like stars. His head is an oval shape with a point at the bottom, crowned with two curved purple goat-like horns on each side of his head. He has huge red eyes, and he has a slightly curved hairline scar along the side of his face, going through his right eye. His fangs are pointed like Vlad's and he also has a small goatee. He does not seem to have any visible humanoid legs, but instead seems to have many tentacles, similar to an octopus or, like Johnny 13's Shadow, a shadowy wraith.

Personality [ ]

Nocturn desires to be the most powerful ghost in the world (similar to multiple other ghosts in Danny Phantom ), using dream energy to get power. He possesses a somewhat mysterious yet debonair air in many respects.

• Intangibility ,  Invisibility , and Flight : Standard ghost powers.
• Pyrokinesis : He can turn his ecto-energy into green flames.
• Supernatural strength : Even when weakened, he was nearly strong as Danny to break his capsule door open, but it assuming he was using his full strength.
• Size Alteration : The more dream energy he absorbs, the larger he gets. When he runs out he starts to shrink, similar to Undergrowth and Vortex.
• Telekinesis : While weakened or powerful, Nocturn can call objects too and away from him, besides of also crushing them with a mere thought if he wants too. He can also use this power to levitate enemies and throw them.
• Teleportation : At full power or even weakened, Nocturn was seen teleporting over short to large distances, appearing from nowhere, in and outside the dream world. He can also use this to evade attacks like ghost rays.
• Regeneration : Due to absorbing dream energy, Nocturn can regenerate his body, at an extremely fast rate, whenever he is injured. During his first battle with Danny, Nocturn was frozen and shattered to pieces, but he just regenerated from the air. This allows him to survive and barely react to attacks multiple times, unharmed each time. Even after being sliced in half, he only smiled and then regenerated. While provided with nearly enough dream energy, he can fight for an almost unlimited time without any sign of fatigue or stress.
• Sleepwalker   Summoning : Because of absorbing dream energy, Nocturn can summon an unlimited number of his ghost minions, the Sleepwalkers, they get stronger as Nocturn gets stronger by absorbing dream energy. Without the dream energy Nocturn cannot summon any of them.
• Omniscience of Dreams : Possibly through absorbing dream energy from his victims, Nocturn knows what everyone dreams of or has dreamed of.
• Sleep Inducement : Nocturn is able to send people to sleep, by expelling a sort of blue light or mist from his hands. Since he used his sleep helmets to absorb dream energy and transfer it to him, it also possible the helmets keep a person from waking them up, continue making them asleep, and send the dream energy to him. This indicates his power doesn't last long and it easy for people to wake up, despite being the Ghost of Sleep and Dreams.

Weaknesses [ ]

• Dream Energy dependency : Nocturn's power level depends on his access to dream energy. With a large amount of it, he is all-powerful, but without it, his power is reduced to nothing, even barely using his basic ghost powers.

Sightings [ ]

• 309. " Frightmare "
• 312. " Phantom Planet " (no lines)
• "I am Nocturn, the ghost of sleep, and what I want, I already have. Your dreams, the dreams of everyone in this town."
• "Stealing is such an ugly word, I prefer the term 'harvest' for energy."
• "Asked the ghost boy who dreams of the goth girl ."
• "Sleepwalkers, form!"
• "Really? I believe this is where I say: dream on ."
• "I am the king of dreams. You cannot win in my world!"
• In some aspects, he resembles the Sandman of folklore, as the Sandman puts people to sleep and sprinkles sand on their eyes, yet Nocturn puts them to sleep and puts a helmet on their heads instead.
• Nocturn is the last introduced ghost of the show.
• Like Clockwork , Nocturn has a scar on the left side of his face.
• The term "nocturn" (derived from the Latin nocturnus , meaning " of the night ") refers to works of art involving night (usually a piano composition). The word has been used as a name for villains and creepy or questionable places in several other works of fiction.

Gallery [ ]

• 1 Danny Phantom (character)
• 2 Ember McLain
• 3 Dark Danny

Nosferatu – Phantom der Nacht

Der mysteriös kichernde Immobilienmakler Renfield beauftragt seinen Assistenten Jonathan Harker , umgehend nach Transsylvanien zu reisen. Er soll dem Grafen Dracula ein Haus in Wismar verkaufen. Der junge Mann freut sich auf das Abenteuer. Wenig begeistert ist Jonathan Harkers hübsche Frau Lucy . Sie wird von albtraumartigen Visionen geplagt und will nicht, dass sich ihr Mann unnötiger Gefahr aussetzt. Doch der schlägt ihre Warnungen ebenso in den Wind wie jene, die er auf seiner Reise erhält. Alles bloss abergläubisches Geschwätz, sagt er. Die Gastfreundschaft des Grafen scheint ihm Recht zu geben. Bei einem ausgiebigen Mahl schneidet sich Jonathan Harker in den Daumen. Plötzlich springt Dracula auf und saugt unter gestammelten fadenscheinigen Entschuldigungen das Blut seines Gastes. Etwas verwirrt schläft Jonathan Harker ein und entdeckt am Morgen darauf zwei kleine Einstiche am Hals. Die geschäftlichen Verhandlungen mit dem Grafen Dracula gestalten sich zäh. Erst als dieser ein Bild von Lucy in Jonathan Harkers Amulett entdeckt, unterschreibt der Graf ohne Wenn und Aber. Zu spät dämmert es Jonathan Harker, was er angerichtet hat. Lucy ist in Lebensgefahr, denn Graf Dracula ist mit einem gehörigen Vorsprung und Särgen voller Pest-Ratten auf dem Weg nach Wismar. «Werner Herzogs «Nosferatu», ein Film mit faszinierenden Sequenzen und einigen grossen, überwältigenden Augenblicken», schrieb «Die Zeit». «Unheimliche Bilder von der Wirklichkeit der Träume», titelte der «Tages-Anzeiger». Und die «NZZ» bewunderte: «Die Mischung von Grauen, Faszination und Mitleid, die Werner Herzogs «Nosferatu» beim Zuschauer auslöst». Über seinen Hauptdarsteller Klaus Kinski sagte Regisseur Werner Herzog, der am 5. September 2022 seinen 80. Geburtstag feiert: «Ich kenne hervorragende Schauspieler und ganz grosse Schauspieler, aber das einzige Genie, das ich kenne, ist Klaus.» Für Werner Herzog stand Klaus Kinski unter anderem für «Aguirre, der Zorn Gottes» und «Fitzcarraldo» vor der Kamera. In «Nosferatu» sind neben Klaus Kinski zwei weitere europäische Stars zu sehen: der 2019 verstorbene Schweizer Bruno Ganz, zu dessen grössten Erfolgen «Der Himmel über Berlin» und «Pane e tulipani» zählten, und Isabelle Adjani, die in den 1980er-Jahren zu den grossen Stars des französischen Kinos zählte. (Text: SRF)

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