SHADOW OF THE VAMPIRE
A Lions Gate Films release 

review by Joseph B. Mauceri

SYNOPSIS: SHADOW OF THE VAMPIRE can be summoned up by posing the question, what if F.W. Murnau's leading man, Max Schreck, had actually been a vampire? The inspiration for the film begins with the infamous quote about Schreck as "an actor of no distinction." The film mixes metaphor and fiction with what little is known of the historical events surrounding the legendary 1922 production of "Nosferatu: a Symphony of Horror."

REVIEW: Director E. Elias Merhige whips John Malkovich and Willem Dafoe into a cinematic frenzy, turning SHADOW OF THE VAMPIRE into a film disserving the subtitle "F.W. Murnau's wild ride." Dafoe steps into make up and costume, creating a character that is as brilliant and memorable as the original. There is little known about the actor who played the vampire. Dafoe's Schreck is part metaphor, yet he is able to transcend this rat-like character's shortfalls and empower him to duel with the egotistical persona created by Malkovich. The story does allow the character a couple of sentimental moments. Dafoe draws out a dwindling spark of humanity, eliciting sympathy, but not diminishing the monster.

Who is the real monster of SHADOW OF THE VAMPIRE? Steven Katz's ingenious screenplay presents Murnau and Schreck as opposite sides on the same evil coin. There is no hero. Murnau is an anti-hero. He will allow the vampire his due so long as he is able to create his masterpiece. He makes sacrifices to both to achieve his masterpiece. Malkovich is perfectly cast, delivering a performance that feels like it was specifically written for him. With all these elements in play, Katz weaves in numerous metaphorical concepts and truths surrounding the production that still possess a contemporary resonance.

At its core, SHADOW OF THE VAMPIRE addresses passion and obsession. Characters are driven to create a film and performances that they hope will out live them, fanning the flames of their obsession. Merhige and Katz offer the audience a small glimpse of Murnau's sexuality and drug addiction, another aspect of his obsessive nature. 
Merhige maybe be young for a director, but his visual style reflects the era when the cinema was referred to as the "grand illusion." From the artistic opening credit sequence -- acting as a time-portal back to expressionism ¯ to the meticulous period costumes and production designs, Merhige allows the audience to comfortably slip into his surreal nightmare. He orchestrates all the elements of his craft to deliver a film that breaks new ground, while serving as a companion piece to the original.

Just when you think you've seen everything that can be done with the vampire myth, director E. Elias Merhige resurrects the undead with a film that is as memorable as the Murnau's classic. SHADOW OF THE VAMPIRE is not a typical Hollywood film, and some vampire genre fans maybe disappointed by the film's lofty ideals and lack of blood. However, fans of the literary genre, from Stoker to Rice, will surly find fresh meet here to sink their teeth into.
 

OFFICIAL WEB SITE:
http://www.shadowofthevampire.com

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