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A Century of ‘Nosferatu’: Florence Stoker (de)Tested, Mutant Fam Approved

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Nosferatu: A Symphony of Horror was released in Germany in March 1922, making it over a century old. The film, directed by F.W. Murnau, follows the story of Hutter (Gustav von Wangenheim), who has been tasked with selling a property to a man named Count Orlok (Max Schreck) in Transylvania. Hutter and his wife Ellen (Greta Schröder) would soon learn that the man poised to buy the home across from them is no man but a vampire.

With an outstanding performance by Max Schreck, Nosferatu overcame hurdles that threatened its demise and continues to impact pop culture over a century later.

Copied Work, Scorched Earth, and Florence Stoker

At the time of the film’s release, Florence Stoker, wife of the author who penned Dracula, reportedly received a box with promotional material for Nosferatu with a program that read it was “freely adapted” from her husband’s novel.

Though the film took steps to separate it from Dracula, the inspiration was clear. Florence Stoker took the production company to court, and the court ruled in favor of Bram Stoker’s widow, stripping the rights of the 1922 movie away from its creators.

The Shudder’s Original series: The Last Drive-In with Joe Bob Briggs covered this topic, with Joe Bob Briggs and his family of drive-in Mutants making clear their feelings on the whole debacle: “Fuck Florence Stoker.”Though not because she tried to get money from the movie; but because she tried to erase it from existence.

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In 1925, 3 years after the film’s release, armed with a court order for all copies to be turned over to her, Mrs. Stoker began burning the movies. Allegedly, she continued to hunt down copies of Nosferatu until she died in 1937. Florence Stoker almost accomplished her mission to eradicate the vampire movie from existence. But copies of the film had illegally made their way out of Germany, and it was able to be pieced back together eventually.

Making Nosferatu

The most memorable part of the film is the iconic appearance of Count Orlok, the vampire himself.

Joe Bob Briggs, with the company of his co-host Darcy, the Mail Girl (aka Diana Prince), explained in The Last Drive-In that the characteristic look of this vampire could not have been accomplished were it not for the actor, Max Shreck.

Not only did he perform the role perfectly, but Joe Bob Briggs intimates that Schreck applied all his makeup and special effects. Max Shreck’s dedication is impressive, as he not only created a wicked-looking monster but also paid so much attention to detail that his character is only seen blinking once throughout the film.

Lasting Impact on Pop Culture

Even if they have never seen it, not many people don’t picture the iconic Count Orlok when the word Nosferatu is said. Though Joe Bob Briggs dubbed it the first cult movie, its frequent references in modern-day horror have helped keep the cult classic alive.

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While by no means a complete list, some entertainment that sought to ensure the film not be buried in the sands of time is as follows:

  • NOS4A2: The AMC series (and Joe Hill novel) about the immortal vampire who drives a car with the NOS4A2 vanity plate keeps the classic horror film alive in its title alone. Never mind the references and parallels that exist within the series.
  • Spongebob Squarepants: Spongebob made sure that the undead creature would be known by the upcoming generations in season two, episode 16: “Graveyard Shift.” This episode saw Spongebob and Squidward terrified of the made-up character “The Hash Slinging Slasher.” After concluding the episode with the realization that all they experienced were simply products of their imaginations fueled by paranoia, everything was explained but the flickering lights. That is when a still of the original vampire, flicking an exaggerated light switch, is shown.
  • Shadow of the Vampire (2000). This film found inspiration in the production of the century-old silent movie, telling a fictional haunted tale and leaning into an urban legend claiming that Max Schreck himself is a vampire.
  • Honorable Mention: Although Nosferatu’s source material saw the vampire as sensitive to sunlight, the idea that the sun would kill vampires originated from this film. Nosferatu is the first to do it, and every time a movie, series, or story depicts a vampire dying in this manner, the influence of Nosferatu lives on.

Although the film ran into trouble from the beginning, one hundred years later, the work of F.W. Murnau persists. Though he was probably not a vampire, Max Schreck found immortality in this film, as his memory is kept alive every time the gaunt face of Count Orlok graces a screen. The fact that the film would still be referenced and so well known a century later, despite Florence Stoker’s best efforts, is a feat. Just be wary of saying the name aloud, lest you invoke NOSFERATU.

Get the whole drive-in experience by streaming the season 4, “Week 4: Nosferatu, The Vampire,” episode of The Last Drive-In with Joe Bob Briggs on Shudder today.

A writer by both passion and profession: Tiffany Taylor is a mother of three with a lifelong interest in all things strange or mysterious. Her love for the written word blossomed from her love of horror at a young age because scary stories played an integral role in her childhood. Today, when she isn’t reading, writing, or watching scary movies, Tiffany enjoys cooking, stargazing, and listening to music.

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Revisiting the Incomprehensible Silent Night, Deadly Night Series: Which Is the Best, Which Is the Worst, and Are Any of Them Actually Good?

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It’s beginning to look a lot like Christmas!

Which means we need to bust out some relevant Christmas horror films to watch here. And it also means there will be many listicles that put Silent Night, Deadly Night Part 2 at the top of their rankings for Christmas horror films by default. But it got me thinking that maybe we need a bit more of a meditation on this series.

Have we really written them all off so quickly because one of them is the most meme-able? I like the first few films in the series as much as the next guy, but The Ricky Chapman Trilogy that kicks us off doesn’t go beyond the pale the way everything after does. 4 & 5 are Apocrypha to the Ricky Bible, but they introduce many weird, out-there concepts that make them enjoyable bad movies.

So today, I’ve taken the liberty of hitching up the man-eating reindeer to the sleigh to take a retrospective ride through the Silent Night, Deadly Night franchise and find out…well, you read the title, you can do the math. Starting with…

SILENT NIGHT, DEADLY NIGHT

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The one that started it all and got a bunch of people in hot water. It’s funny to think that outrage culture has pretty steadily assaulted our eyes and ears with the dumbest of controversies since time immemorial. Still, it’s even funnier knowing this movie contributed to that outrage. But beyond the controversy, this film is actually…kind of good?

It’s the best shot of all the movies, so big props to Scream Factory for remastering it and restoring it to its fullest. It’s only a little meanspirited, which is good since it doesn’t get too heavy for its absurd concept. On top of that, the kills in the movie are exceptionally creative (antler impalings, Christmas light hangings, and sled decapitations, oh my!). My only problem is that Billy Chapman is no Ricky, he’s more serious and isn’t as much of a goofball.

I would say this ranked high up when I first started my rewatch but may go closer to the bottom of the list. Not for any technical fault of its own—just because it gets much funnier from here in…

SILENT NIGHT, DEADLY NIGHT, PART 2

Do I even have to say the line to know it’s the first thing that went through your head as you read the title? GARBAGE DAY!

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Let anybody who told you Art the Clown is the best slasher villain to use a gun see this and watch them change their tune. Watching this is only enriched by not having seen the first movie, which makes it one of those sequels that is better than the first in the worst way possible. If you were unfortunate enough to watch both the first and second films in one sitting, like myself, you’d know that roughly half of the movie is flashbacks to Billy’s rampage. But that doesn’t stop it from being entertaining as all hell.

Ricky Chapman is an all-time great slasher villain and delivers some kills almost as good as the original. Eric Freeman may just be the best-worst actor of all time, which makes this movie one of the best-worst films of all time by proxy. Which makes the following film feel like a fall from grace, given its…

SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT!

A.K.A. “The one with Bill Moseley in it,” because that’s the most remarkable thing about it. He’s not even a killer Santa in this one, but I guess mixing the motifs of “killer with exposed brain pan” and “Santa Claus with murder tools” might muddy the aesthetic waters. The final entry for our boy Ricky is kind of a sad whimper to go out on because this movie’s pacing is painfully slow.

It squanders a very fun concept (psychic girl is hunted by an evil Santa Claus she keeps having visions of) in favor of watching a lobotomized Ricky taking a road trip to his murder victim and killing people off-camera on the way. Worse, it squanders Bill Moseley, who doesn’t get to act outside of lumbering with a slack jaw. It’s the cinematic equivalent of dragging your sled up the hill again: tedious, no momentum, and no fun as you wait for the next weird ass thrill ride in the franchise.

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SILENT NIGHT, DEADLY NIGHT 4: THE INITIATION

And the next weird ass thrill ride in the franchise is here! Why should this even qualify when it looks and feels like Springtime in Los Angeles, and people had just forgotten to take down their Christmas decorations for months? Well, three reasons:

  1. Spontaneous combustions caused by witches.
  2. Monstrously massive bugs everywhere, designed by Screaming Mad George.
  3. Clint Howard as the resident crazy homeless guy who walks in and out of the movie.

While Ricky may be gone and its status as a Christmas movie is dubious, it’s a trip of a film with one particularly hellish sequence involving a lot of slime-covered giant insects. Some complain about its ham-fisted thematic notes of gender inequality, sex, and exploitation…but are you actually going into Silent Night, Deadly Night 4 expecting strong themes? Just enjoy this one for what it is, which is a lot of classic ick-inducing Brian Yuzna filmmaking. If you liked the weird, psychosexual nightmare that was Society, you’ll like this.

SILENT NIGHT, DEADLY NIGHT 5: THE TOYMAKER

I was going to do another A.K.A. joke here, but I realized that the twist of this movie is so weird that it outclasses even The Initiation and needs to be seen to be believed. Rewatching this, I had forgotten exactly what the deal was with our mystery killer in the film and was mouth agape when the movie jogged my memory.

The Toymaker gives some very gruesome deaths and puts the Yuletide feeling of the film at center stage with a plot about murderous toys (not Demonic Toys, we swear, please don’t sue us Charles Band!). In fact, I would argue that since the effects in this movie and the violent kills don’t feel like a rehash of Society, it’s actually a major improvement on what 4 had going on. While four is slower-paced as it tells a (somewhat) more tempered story, five is aware of how goofy the plot is, with faster and funnier editing and some truly hilariously bad performances.

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SILENT NIGHT (2012)

The final entry in the series is as plain jane of a slasher as they come but does manage to get the holiday aesthetics down pat, so even though it isn’t as wacky as the others, I’m including it in the ranking.

This film isn’t the one that reinvents the wheel or brings any fire to mankind (outside of the literal flamethrower murders depicted in it), but it is a very solid slasher. It has a cast of fun character actors, particularly Donal Logue and Malcolm McDowell, with our lead Jaime King as a no-nonsense detective hunting down our slasher. I just wish it was as madcap and off the walls as some of its predecessors were.

FINAL RANKINGS

Which is the best, which is the worst, and are there any good films in this series?

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I would argue that all of them (except for 3) are great horror flicks in their own rights, since not a single one of them (except for 3) is boring (3 is getting the worst spot, sorry if I’m being redundant, but it sucks).

If I had to choose a best one, it would probably be our 5th spot on the list as The Toymaker is a diamond in the horror rough that, while lacking the bad acting of Part 2, has a genuinely insane script and all the best special effects of the series. So, from best to worst:

  1. Silent Night, Deadly Night 5: The Toy Maker
  2. Silent Night, Deadly Night Part 2
  3. Silent Night, Deadly Night
  4. Silent Night, Deadly Night 4: Initiation
  5. Silent Night (2012)
  6. Silent Night, Deadly Night 3: Better Watch Out!

When you’ve got those cookies baking in the oven, the house smelling of pine tree, and the lights twinkling, let this list from nice to naughty help you make the right decisions on which campy horror movies to watch this holiday season.

From all of us here at Horror Press, Happy Holidays, and a Happy New Year everyone!

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In Memory of the Video Rental Store

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Cinemas are for those who know where they’re going. But the video store? The video store is for the wanderers who are still looking. Or, were still looking.

From a very young age, I, like many people, was in the clutches of a business nobody even knew was doomed to collapse yet. At least, nobody I knew knew, and certainly, you didn’t know. We were children, and children rarely know much about themselves, let alone the intricacies of a market on the brink of an unknowing death at the hands of an unknowable, unfeeling force. A force that would take all the whimsy and love out of picking a film and replacing it with scrolling and idly zoning out as you watched the screen.

I learned quickly to love the video store. I hadn’t yet grown to love the comic books that would line the boxes in my room, or developed the skills to play with others, but I did have a video store on my block. It was a downright frigid spot in the sweltering heat of the summer, and that was all it needed to be.

The fatal weakness the store preyed on was that my eyes and heart were still perfectly big in proportion to my positively diminutive brain. I was enticed by every expertly crafted cover, every famous face I acquainted myself with. I ended up carrying names and voices belonging to the friends and enemies and loves and heroes I’d never meet.

And the terrors I’d never experience first-hand.

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The eyes in paintings follow you sometimes, but the eyes on movie cases always follow you when you walk along the aisles. It’s the horror film cases that always seem to be watching you from between the shelves. Red eyes peering from the darkness. Monstrous eyes that seem particularly human and human eyes that call on the particularly deranged. The only lit spot on a face leering in shadow with wide eyes, wide maniacal stares and bloody hands and bloody weapons, bloody everything–

So scary that it would leave me rambling. And I’m a habitual rambler, always nervous, so you can only imagine how scared I was, even as a child, when my parents were there to assure me it’d be fine.

I can’t wash out how those images evoked a primal disgust and curiosity in me. I remember that the Saw movie covers did it to me quite a bit with their various severed limbs and torn-out teeth hanging by wires; the Texas Chainsaw remake had me standing in shock when I passed it in the store, the face of Thomas Hewitt staring back with void sunken features. Sepia-toned filth that leeched off the poster’s art and into my brain to leave stains so strong I can remember them as clear as day. Growing recognition that would turn into admiration.

And I kept running into these faces, even when I wasn’t in that video store. A man in the neighborhood who sold movies out of the trunk of his car frequented the same block as my grandmother’s apartment. He lured me over to browse the selection once, and there it was. My father took my hand and led me away, but that first glance at the stitched face would terrorize me for most of my childhood.

Cover after cover through flea markets, electronics retailers, and bargain bins in big box stores. Everywhere, that damned face. Good old Charles Lee Ray, Chucky. Killer dolls, which I only got glimpses of, were infinitely more terrifying than the films themselves. God forbid I saw one of the full-sized replica Chucky dolls in a store and froze up to have an asthma attack.

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When I got older, eventually, I did what every idiot in a horror film does. I took the proverbial steps into the darkened basement to find out what was making that noise. I had to find out what I had been seeing glimpses of from the corner of my eye.

Far and away from the first video store that stole my heart, we had a Blockbuster in the town we moved to next. Twelve-year-old me snuck a copy of “Dawn of the Dead” in with some of the films we had rented, covering that pale, bloodstained half-face with a box of old candy off the shelf near the register, taking advantage of the fact that my parents were still browsing while I made my pick. The young cashier, whose face has melted into memory soup all these years later, still had one distinct feature on their face I could see: a smile. It could have been them being nice as usual, but part of me likes to think that they knew what I was doing and just wanted to give a little push to rebel.

I watched it a few days later in my room, nervously dancing around the fact we’d have to return it soon. And though I had to cover my eyes most of the time, and the volume had to be turned down low so that my parents couldn’t hear the carnage from the next room over, I made it through. And I wanted more now.

Now that I’m grown, I wish we had met earlier, horror; I wish I had gotten to know how fun the fear could be. How silly some of these things were. The joys of camp and goriness. The way you could put the laughter in slaughter and the sense of fun in fear. But that was the trajectory I had to be on, to feel equal parts “I’m scared, I want to go home” and “I’m scared, I need to know more.” I’m just glad that I caught those eyes watching between the shelves when I did.

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