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Director Carl Th. Dreyer’s ( The Passion of Joan of Arc (Criterion Collection Spine #62) ) 1932 film Vampyr is as relevant a mute film (even though there is some talking) as the novel movie Once is a musical. Meaning, in Once when they bust out into song, they’re actually musicians so it makes sense and when there are words on the hide in Vampyr it’s because a book about vampires is being read. It works. The film plays like a unlit and white photograph near to life. It is filled with eerie dreamlike atmosphere and scares that believe up even now. This possibly could be the scariest vampire film rivaling Nosferatu, notably the share when one of the daughters goes from frightened about losing her sole to an defective smile. Even though it is made a decade after F.W. Murnau’s classic Nosferatu (The Ultimate Two-Disc Edition) and one year after Browning’s Dracula (75th Anniversary Edition) (Universal Legacy Series) this could calm be the first movie about vampires.
In Nosferatu and Dracula the memoir tells of a specific vampire and in Vampyr it is about vampires in general. Vampires here are shadows we glance not a guy without a shadow (very effective and eerie) . They are people who have done nefarious while living and are not at rest. They are companions of Satan and have minions working for them that could glimpse like anyone. You can peek how many countless vampire movies this has influenced, none of which reach stop to this masterpiece. I found the thought of the ending reminded me of Guillermo Del Toro’s titanic Pan’s Labyrinth [Blu-ray] but I won’t go into detail.
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If your familiar with Criterion or any of their fright releases this should be gargantuan and the new dvd could exercise improving. I’ve listed the Criterion features below from their website. Another reviewer did the same but I usually like to include features in my reviews as well.
CRITERION DVD FEATURES (DIRECTLY OFF CRITERIONCO’S WEBSITE)
Special Features
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* – SPECIAL EDITION DOUBLE-DISC Space FEATURES:
* – Original, restored high-definition digital transfer of the 1998 film restoration by Martin Koerber and the Cineteca di Bologna
* – Optional all-new English-text version of the film
* – Audio commentary featuring film scholar Tony Rayns
* – Carl Th. Dreyer (1966), a documentary by Jörgen Roos chronicling Dreyer’s career
* – Visual essay by scholar Casper Tybjerg on Dreyer’s influences in creating Vampyr
* – A 1958 radio broadcast of Dreyer reading an essay about filmmaking
* – Original and improved English subtitle translation
* – PLUS: A booklet featuring fresh essays by Trace Le Fanu and Kim Newman, Martin Koerber on the restoration, and an archival interview with producer and star Nicolas de Gunzburg, as well as a book featuring Dreyer and Christen Jul’s unusual screenplay and Sheridan Le Fanu 1871 record “Carmilla,” a source for the film
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Film Info
1932
75 minutes
Black & White
1.19:1
Dolby Digital Mono 1.0
Not Anamorphic
German
This film is truly outstanding. It’s possible to even go so far as to call ‘Vampyr’ the last in the line of German cinema expressionist movies; evidence to suggest the influences of ‘The Cabinet of Dr. Caligari’ and ‘Nosferatu’ certainly abounds throughout.
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First things first; the film has no tangible residence to follow except that the storyline is loosely strung on a young man’s attempt to fight vampirism in a miniature (Danish? ) town. While the lack of station sounds terrible in the abstract, there is so noteworthy strength in the movie’s other attributes that the divulge of anecdote structure soon fades in the viewer’s mind. Imagery provides ‘Vampyr’ with its rasion d’etre. One haunting, unlit image segues into the next to invent for a scare experience that’s far subtler than what Universal Studios was starting to crank out at the time of this film’s release. Director Carl Dreyer apparently shot some of the scenes through gauze to enhance the ghost-like wispiness of the sequences.
The carry out is utterly magical. Combine that with kinks like reverse filming (man ‘digging’ the grave), an eerie cello/clarinet-led find as well as a virtually absent dialogue and you’ve got a film that addresses fright on a high level.
It’s essential to understand this as you ogle, although the scenes are consistently textured enough to remind you that you’re trapped in a shadowy and white nightmare experience for the entire duration of the recount. The film seems to become more ethereal every limited and by the time the vampiric crone is done away with, the viewer has been through too harrowing an affair to be able to explore how a semi-happy ending can do those feelings of disquiet ebb away. It must be said that it took guts to effect this film. ‘Vampyr’ breaks many conventions, including its [by then] out of fashion clinging to the techniques and dogma of still cinema when everyone else was rushing forward to flourish in the current glory of sound. But Dreyer’s film is also revolutionary against the conventions of film-making in general. Even Weine’s ‘The Cabinet of Dr Caligari’ didn’t dare to be so progressive as to do away with a storyline (its one is very complex, in fact) . What results is a work as bizarre in do as Dali’s ‘Un Chien Andalou’ and yet coherent and accessible through its ability to deny fright in a language higher than the banal or everyday.
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Thankfully, the print was transferred extremely well onto videotape by Timeless Video. It’s unbiased sorrowful that the DVD has apparently failed so miserably in that department. Feeble films need to be treated with a grand deal more respect by DVD and video companies. ‘Metropolis’ has suffered honest as badly if not more at the hands of insensitive corporate butchery. It’s impartial too abominable that there aren’t many video companies headed by people who genuinely care about the nature of their bread and butter. The consequences are very unlit indeed: these are classic movies, not toys. Attach it this way; would you objective occupy up a 70 year-old pensioner and throw him any frail diagram onto a……… ………maybe that’s a unpleasant analogy but you find the concept. Hopefully, so will they.
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