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Nosferatu the Vampyre (1979)

The vampire genre is one that has proven longevity since the popularity of Bram Stoker’s Dracula. Since the inception of film as an artistic genre, we have seen vampires populate horror ever since the 1922 classic Nosferatu. It’s a genre that has become a parody unto itself thanks to its association with teen franchises and the common link between vampirism and sex. What makes Werner Herzog’s 1979 masterpiece so impactful is the sincerity and the minimalism with which it is executed. Herzog brings such a natural approach to the production and yet everything is so clearly calculated. Starring Bruno Ganz as Jonathan Harker, Isabelle Adjani as his wife, Lucy and Klaus Kinski as the titular character, the film follows the story of Jonathan Harker and his encounter with the mysterious Count Dracula who lives among ruins in Transylvania. Dracula subsequently ventures into Wismar and brings along a rat infestation causing a plague in the village while feeling entranced by Lucy. The film is a haunting adaptation of the classic tale and with minimal violence, effectively mounts up fear thanks to the emotionally charged script and the isolating direction.

First thing to talk about is Herzog’s direction and screenplay which I have touched on a bit. What’s genius about Nosferatu the Vampyre is its timelessness. It’s a film that could have been made today and still received in the same way. I think that is a credit to Herzog’s talent as a writer and filmmaker that he is able to create a film that is so unique and provided an impact to the horror genre. The first act of the film follow Jonathan’s journey to Transylvania and is fairly slow burning with the middle portion showing Jonathan’s encounter with Nosferatu and his downfall and the final act sees the plague takeover and final showdown. Herzog successfully creates rounded characters in its main three protagonists: Jonathan, Lucy and Dracula and easily follows their isolated storylines before merging together in Wismar. The film becomes an intricate puzzle and Herzog cleverly manages to slot the pieces in the right place by making it more than a simple linear structure.

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Due to the lack of blood and violence, it’s up to the actors to evoke the fear in the film and the cast does so perfectly. Headed by Ganz and Adjani as the Harkers, we are immediately immersed in their world from the opening shot of Lucy screaming herself awake from a nightmare. Kinski isn’t physically in the film that long and first appears halfway through but his presence can be felt even when he is not onscreen. As we see Jonathan succumb to vampirism, we see his attitude shift from loving husband to isolated madman in a performance that is portrayed brilliantly by Ganz. The highlight for me comes from Adjani for her stellar performance as Lucy. Considering the film was made in 1979, Lucy is such a complex character. Herzog makes the audience believe that she is weak and feeble as she struggles to cope when Jonathan sets off on his journey but her strength shines through in the aftermath of the plague that sets upon Wismar. As we see a society led by men crumble, Lucy can be seen actively trying to solve the problem against the advice of the supposedly wise Dr Van Helsing (Walter Ladengast). The nightmares and instincts that Lucy create a sense of otherworldliness to her as she is viewed as a force for Good against the Evil of Nosferatu.

I don’t think I would be doing the film justice if I were not to discuss the iconic soundtrack provided by Popol Vol and featuring the Vocal Ensemble Gordela. The score brings in new sounds and unexpected notes which exemplify the films various twists and turns. It’s hauntingly beautiful and grabs your attention instantly. The score helps the film’s impact on the viewer and really elevates the experience and horror of the subject matter. The track “Tsintskaro” performed by the Vocal Ensemble Gordela is among the many musical highlights in this film as we see Lucy as she ventures through the town square among the madness of the fellow villagers. The incorporation of this traditional folksong brings forth the culture into the film and it clearly made an impact as it also provided inspiration for Kate Bush who sampled this song in “Hello Earth”.

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It goes without saying that Nosferatu the Vampyre is my favourite vampire film and among my top horrors of all time. I think that there is a strong argument to say it is the best vampire film of all time and struggle to think of a horror film that has impacted me more. It’s brilliance comes in its simplicity and its fear comes from the performances which shows what a fantastic cast and crew this film had. All the components mesh together beautifully to create a film that is still haunting and impactful 40 years on.

What do you think of Nosferatu the Vampyre? Let me know in the comments below!

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Top 5 Viola Davis Performances

A reigning Queen of the Silver Screen, Viola Davis is a titan of acting who shows us time and time again that she really is among the best of the best. She is also the first black actress to receive the Triple Crown of Acting. She is renowned for her grace and poise, she fights for what she believes in and only takes on roles that she wants. She is an icon in a number of different ways but for me, it is her passion for acting and determination to get to the heart of her characters that really stands out for me. You can tell that she truly loves what she does and that she puts herself into the characters whether it be an FBI agent in Suicide Squad, the mother of a missing child in Prisoners or a woman broken by a society that cripples her family because of the colour of their skin in Fences. I can’t even begin to say how much I love VIola Davis as an actress and activist

As ever, these posts delve into film performances so even though her inputs in projects such as the TV series How to Get Away With Murder are incredible, they won’t be added in the list. This also makes it a bit easier when picking the performances for my list.

Here are my top 5 performances in chronological order:

Doubt (2008)

The breakthrough performance that cemented Davis’ career onscreen, Doubt is a star-studded film that features iconic stars Meryl Streep, Amy Adams and Philip Seymour Hoffman, who all received Oscar nominations for their performances. Following Sister Aloysius (Streep) and Sister James (Adams) as they plot to bring down Father Flynn (Hoffman) who is suspected of molesting the school’s first black student. What was the most heartwrenching scene to come from this film was the performance from Viola Davis, an actress who had made her name on TV and the stage but had not broken into the film industry just yet. Her performance as Mrs. Miller, the mother of the abused child, is small but captivating as she struggles with the truth and her faith. It’s a pained performance that holds its ground against three of the best actors in modern times. Davis’ character admits that she would overlook the abuse if it meant that her son could still attend the school and escape from the socioeconomic background that he would be subjected to were he not attending. In one scene she becomes a parent torn by the abuse of secular and religious authorities. She knows that it is a world where they cannot win without suffering and the heartbreak of that realisation sits with you for the duration of the film.

The Help (2011)

Now for the film that solidified Davis as a leading star and should have won her an Academy Award (let’s not even get into that one). I am aware that The Help is a controversial film to put in here and it is completely understandable. The film sadly follows white saviour tropes as Emma Stone’s character, Eugenia “Skeeter” Phelan, helps to expose the abuse that the black maids in Jackson have received. The maids that she initially speak to are Aibileen Clark (Davis) and Minny Jackson (Octavia Spencer) who both provide brilliant performances. I know that sadly these kinds of roles feed into prejudice perceptions of non-white actors who are often delegated to subservient characters. I remember watching this film for the first time and absolutely loving the characters and how much they fight back. The film definitely has its flaws but both Davis and Spencer shine and earn their acclaim. Both characters are brilliantly developed and the scenes with the two of them in are fantastic. Davis has such a presence and says so much with a facial expression. Her performance as Aibileen is a masterclass of acting and only serves as a small step in a huge career.

Prisoners (2013)

This may be an unexpected inclusion into the list but I enjoyed this film a lot. Serving as Denis Villeneuve’s English-language debut, I went into thinking it would be a typical action drama but it was so much more than that. Davis plays Nancy Birch, a woman who’s daughter is kidnapped with her best friend. It’s a film that plays out every parent’s worst nightmare and the lengths one will go to to bring back their child. Davis is maternal, fierce and conflicted when Kevin Dover (Hugh Jackman) who’s daughter also went missing finds a suspect, locks him up and begins to beat him. Nancy is a character who refuses to play by others’ rules and does what feels right to her. Although this is a supporting role, Davis still maintains that strong presence onscreen and brings her A-game in a cast that includes Jackman, Terrence Howard and Jake Gyllenhaal to name a few. Much like the conflict Davis brought in Doubt, it’s hard not to feel affected by her performance. Whereas Jackman and Gyllenhaal fit a traditional “masculine” trope, Davis is the maternal heart but brings a strength that is not often given to women in thrillers. Her involvement shows her desire to work with respected directors and actors and also shows her perseverance to choose roles that help progress to women’s roles in films.

Fences (2016)

The one that brought her all the gongs, Fences is an adaptation of August Wilson’s 1985 play of the same name and directed by her co-star, Denzel Washington, who also brings a career best. Washington refused to divert from WIlson’s script meaning that Wilson is credited as screenwriter and received a posthumous Oscar nomination. Admittedly, Washington’s reluctance to divert from the script does make the film feel a bit too stage-like at times but there is no doubt that this is Davis’ film. I honestly think that they should have gone for the Best Leading Actress awards and she would have won it but the Supporting seemed a “safe” category. She plays Rose Lee Maxson, a woman whose life revolves around satisfying the desires of her husband and their son whose goal is to play baseball. Living in a rundown neighbourhood in a deeply racist society where the odds are stacked against them, Rose does not give up and fights while her husband Troy Maxson delves deeper into madness in his failure to succeed in his American Dream. It’s a highly emotionally charged film that sees Davis go into a different league of acting that is rarely seen. She refuses to be put down by the men she takes care of despite their physical intimidation. Rose is another strong woman that Viola can add to her extensive repertoire.

Widows (2018)

The last blockbuster that Viola starred in saw her take the lead as Veronica Rawlings in Steve McQueen’s fourth feature, Widows which follows four women who plot to carry out a heist after three of their husbands died in a botched job. Veronica is the group leader who draws together the plan using a notebook that her late husband, Harry (Liam Neeson) left in a safety deposit box. The other three women played by Michelle Rodriguez, Elizabeth Debicki and Cynthia Enviro and the four together have great characterisation and rapport. It’s a film built on the strength on its performers and Davis leads with ease. It’s refreshing to see such a strong action-based role which would traditionally be taken by a white male instead being portrayed by a black woman. The film is fearless and knows its strength. Veronica is one of the best female characters in recent years. She’s deeply complex as a grieving widow, a mother who’s son was wrongly murdered due to racism in authority and a woman who knows what she has to do to survive. She shields her fragility and fuels the operation with her persistence.

I am so excited to see where Viola’s career will go next. Even in films like Suicide Squad, she was a shining star to me. She’s an actress who is consistent, likeable and bankable. She is one of the key figures to pushing for more strong female characters in film and constantly talks about the importance of women in film.

What Viola Davis film is your favourite? Let me know in the comments below!

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Adapting Roald Dahl

There are few people who manage to capture the imagination of a global audience in the way that Roald Dahl does through his stories. Over the years we have seen numerous adaptations in a wide variety of mediums and genres through the eyes of a huge spectrum of visionaries. From directors including Danny DeVito and Tim Burton and genres stemming from Mel Stuart’s musically charged classic to Wes Anderson’s progressive stop-motion animated masterpiece. The scope of adaptations made to date only adds to the genius of Dahl’s creativity and highlights the strength of the imagination the man in the shed conjured. Watching the 1971 adaptation, Willy Wonka and the Chocolate Factory feels just as timeless as Tim Burton’s take in 2005 despite the films bringing a polar opposite aesthetic to the novel.

Originally, I was going to try and list my favourite adaptations but much like the films of directors such as Kubrick or Paul Thomas Anderson, each one is unique for particular reasons and I found it impossible to come up with a reasonable list that sums up my love for Dahl’s stories. Netflix announced in November 2018 that they were going to adapt a number of his works and the excitement and hype ever since has been astrominical. Anne Hathaway is rumoured to have been cast as the Grand High Witch (who was brilliantly played by Anjelica Huston in the original film) in their production of The Witches. This particular remake is being directed by Robert Zemeckis to boot showing the demand around these projects.

Dahl wrote both children and adult books but is probably more known for the former. However, it was his experience and openness to discuss an array of topics (including his autobiographies Boy – Tales of Childhood and Going Solo) that allows him to approach his writing with a fearlessness, bringing a new and exciting perspective to literature. Even when creating his own universes and language, Dahl never patronises the reader and I think this is what has translated so well into the film adaptations such as Nicolas Roeg’s The Witches (1990) and Danny DeVito’s Matilda (1996). Both are great examples of films that are primarily aimed at children but are perfectly suitable for adults as well. No one is excluded from a Dahl tale. Also, the nostalgic draw also undoubtedly contributes to the hype as adults of today probably read his books as children. Dahl has become synonomous with Western (particularly British) childhoods.

I am hugely excited to see what these Netflix adaptations bring as they promise to show a more faithful and darker side to the Dahl bibliography that perhaps has been left out in previous adaptations. Not that has is a bad thing as each adaptation has brought something unique in the way that Dahl has in each of his books but it’ll be interesting to see The Witches with its original ending and a Charlie and the Chocolate Factory with the right balance of book loyalty and darkness (the Tim Burton one slightly overdoes it in my opinion). I am mainly looking forward to The BFG however as that is the one that captured me most as a child. I found the giants absolutely terrifying and I am looking forward to seeing how Netflix adapt it. I enjoyed both adaptations but I feel that the Steven Speilberg take was a bit sillier than it needed to be (although I completely appreciate that The BFG as a character is rather silly). I would probably say that if pushed to choose, my favourite films adaptations would be either Willy Wonka and the Chocolate Factory (1971), The Witches (1990) or Matilda (1995) which is odd because none of the films are 100% faithful but the final cut doesn’t compromise Dahl’s vision and that is the most important thing.

Which is your favourite Roald Dahl book and/or film adaptation? Let me know in the comments below!

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Who’s Afraid of Virginia Woolf? (1966)

Based on the Edward Albee stageplay of the same name and marking Mike Nichols’ directorial debut, Who’s Afraid of Virginia Woolf? follows older couple, Martha (Elizabeth Taylor) and George (Richard Burton) as the cracks in their relationship between to crack and crumble with the arrival of newlywed couple Nick (George Segal) and Honey (Sandy Dennis). Very much like the stage production, the film itself is minimalistic and relies on the strength of the actors’ performances which is provided in spades. Elizabeth Taylor who gives her best performance since her Tennesee Williams duo with Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959).

The screenplay is nothing short of amazing. Adapted by Ernest Lehman and there are only minor differences to the film, largely due to location. The Albee play is set only in Martha and George’s house whereas the film gives us a short break in a local roadhouse. It’s not a change that creates any detriment to the film and makes for an opportunity to see how these characters act outside of the comfort of the homely setting. Martha and George’s son is given a name in the film, Nick, in the film adaptation but does not have a name in the play. Again, this is an understandable change as it creates a more emotional charge for the audience as it feels more “real” and relatable when giving him a name. This is similar to the narrator in Truman Capote’s novella Breakfast at Tiffany’s who is given the name, Paul Varjak, which probably makes it easier to confirm especially when protagonist Holly Golightly refers to him as “Fred” after her brother. Changes as small as these don’t compromise the vision of the film and in Lehman’s case, it brings a different dimension to Albee’s play and enhances it in some ways.

Taylor had had her fair share of turbulance with the press and public as her lifestyle and general sexuality was judged and she was seen as a poor role model but this film allows us to see that she isn’t afraid to “deglamourise” and get gritty when needed. She has always been a brilliant actress as previously proven but portraying Martha gives us a chance to see the darker side as Martha manipulates and instigates. She is such an unlikeable character but Taylor has such a presence that it is impossible to feel Martha’s power as she dominates with her physicality. She manipulates the audience into feeling how she wants them to feel, gaining sympathy when needed and repulsion when required. Her performance is nuanced and showed that her career was far from over.

Richard Burton on the other hand plays the oppressed husband waiting to explode as Martha provokes again and again. One of the best actors of the Golden Age of Hollywood, Burton was seriously undervalued during his lifetime and found himself without an Oscar despite seven nominations under his belt. This was indeed one of those performances and despite his brilliance, this really is Taylor’s film. That isn’t to say that his performance isn’t excellent because it is among his best of the best and shows the potential that he was capable of being succombing to alcoholism.

The supporting actors, Segal and Dennis shine as the young couple seemingly in love. The longer they spend time with the miserable elders, they start to see parallels in their own relationship. Sandy Dennis is particularly eyecatching as Honey, the initially subdued housewife who then begins to disagree with her husband. It captured the Academy’s attention as well who award her with the Best Supporting Actress gong. The arrival of the young couple gradually means that the film becomes a game of Chinese whispers as secrets are thrown around to the wrong people and conflicts happen every five minutes. It’s a spiderweb of the complexity of relationship and ultimately seeks to find the foundation of their relationship and destroy it. The ending then leaves the question of what happens next as their years of marriage and lies lay bare in front of them.

The film is a great example that plays can be adapted successfully to the big screen without making big compromises. The film allows the actors to bounce off each other rather than blending into a spectacle. Seeing Taylor and Burton onscreen is always a treat as well and to see such volatile performances makes the film raw and honest. It’s a film that feels enormously progressive for its time as the couple grieve over the death of their son, deal with their bad habits and open up about their tumultuous marriage. The characters are not trying to be likeable because they react as their character would react rather than catering to a Hollywood audience as the big studios would play it.

What do you think of the film? Let me know in the comments below!

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Top 5 Audrey Hepburn Performances

Known as one of the leading ladies in the Golden Era of Hollywood, Audrey Hepburn epitomised glamour and class in the way she conducted herself onscreen and off. A lady who could do no wrong, there is a reason why Hepburn is truly a cultural icon and this goes beyond her striking features. Winning and Oscar for her debut performance in Roman Holiday as a rebellious princess, Hepburn made her mark in Hollywood instantly carving out a career that shows how consistent and rounded she is as an individual. Even if you haven’t seen her films, you know her face. Ingrained as one of the most important legendary of 20th century cultural icons, Hepburn has become synonymous with the classic Hollywood actress.

Hepburn led a varied career to her showcasing acting, singing, dancing onscreen and then fashion muse, model and UNICEF ambassador offscreen. She has been one of my personal inspirations for many years and one of my favourite actresses of all time.

In celebration of a brilliant and legendary career, here are my top 5 films for the one and only, Audrey Hepburn!

The list (as always) is in chronological order:

Roman Holiday (1953)

The one that started her career off with a bang and an Oscar. Hepburn plays Ann, a Princess who is visiting Rome as part of her royal tour who escapes in the middle of the night to experience life as a normal person. She stumbles across cynical journalist, Joe Bradley (Gregory Peck) and the two spend a day visiting the famous landmarks across the city. Despite being filmed in black and white, the film manages to show us the colourful world of Rome. It’s a film that feels very revolutionary in many ways. From filming on location in Rome (sacrificing a full colour film) and Peck’s insistence that Hepburn receive an equal billing for her performance. Roman Holiday is the perfect film to watch when feeling nostalgic for Old School Hollywood. The chemistry between Peck and Hepburn is evident from the get go and it’s great to see Hepburn playing such a rebellious character who is hugely reluctant to slot into her role as a Princess.

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Sabrina (1954)

This is not by any means a popular film beyond the costume designs. It received mixed reviews upon release and tales of the troubled production mainly at the hands of leading man Humphrey Bogart who was consumed by his alcoholism but there is something that is magical to me with Hepburn’s performance in this film. Playing the titular role in this Billy Wilder romance, Hepburn is the daughter of a chauffeur who lives within the estate of a wealthy Larrabee family. She is shipped off to Paris to learn cookery and comes back glamorous and catches the eye of the two wealthy Larrabee sons, the older serious brother, Linus (Bogart) and the young and handsome David (William Holden). It’s a classic Cinderella-esque story with a bit of Pygmalion thrown in and I really love the result personally. I won’t deny that the costumes play a big role because of the history that it sparked the beginning of Hepburn and Hubert de Givenchy’s lifetime friendship and collaboration although Edith Head ultimately received credit for the designs and received the Academy Award for Best Costume Design. But ultimately it is the simplicity and elegance of this film that draws me to it and I am a big fan of Wilder’s direction.

Breakfast at Tiffany’s (1961)

I don’t think it would be possible not to include this on the list. A film that gives not only one of Hepburn’s best performances but also a revolutionary and cultural shift in modern cinema. Based on Truman Capote’s novella of the same name, Hepburn plays protagonist Holly Golightly, a socialite who leads her life carelessly as she shimmies down the street and eats pastries at the windows of Tiffany’s & Co. The film carries a different tone to the book as Holly’s prostitution, alcoholism, drug-use and bisexuality are shunned almost completely and are very briefly referred to at various points. Hepburn’s portrayal of Holly is far from the Marilyn Monroe figure that Capote had pictured in mind when writing the novella but it works for the film. It may not be a faithful adaptation as far as characterisation goes but it captures the struggle to achieve the American Dream beautifully and shows a woman who is willing to do what it takes to achieve security in a world that is cynical and shut off from those who aren’t afforded it at birth.

Charade (1963)

Hepburn is teamed up with Hollywood superstar Cary Grant in this thriller that sees Hepburn play Reggie Lampert, a woman whose life is thrown into chaos as her estranged husband, Charles, is murdered and her belongings are sold off. She is pursued by three criminals who are seeking revenge after Charles stole money from them years before. With the help of Peter Joshua (Grant), an American whose brother was also killed by the same men, they embark on a search for the money. The film becomes a spiral as Peter reveals identity after identity and Reggie becomes less and less sure who to trust. It also shows another side of Hepburn as she hasn’t done many thriller or action films before. As Peter is telling us of his many identities, Reggie keeps her cards close to her chest with Hepburn giving an equally layered performance.

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My Fair Lady (1964)

This may be a controversial choice as it’s widely known that Hepburn didn’t sing in her role as Eliza Doolittle in this musical adaptation of George Bernard-Shaw’s 1913 play Pygmalion that follows the working-class Doolittle as she is taken under the wing of linguist, Henry Higgins (Rex Harrison) who is convinced that he can teach her to talk “proper” and introduce her into high society. There is something remarkable about seeing some so polished as Hepburn playing someone like Eliza which is so different to her other roles. Many critics were disapproving of Hepburn having her singing dubbed but the role of Eliza is much more than her voice, ironically. Hepburn truly becomes Eliza, her physicality and poise is spot on and who can forget the iconic racetrack scene. It’s a film that shows Hepburn’s skill in a more comical film than her other roles and you can tell that she is having a lot of fun in the role.

There are so many other brilliant performances that I haven’t had the chance to include but in a career that is so fantastic, it really was a challenge.

Which Audrey Hepburn films are your favourite? Let me know in the comments below!