Vampyr - Criterion Collection
by Carl Theodor Dreyer
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DVD Cover Information
Actor: Albert Bras, Baron Nicolas de Gunzberg, Henriette Gerard, Jan Hieronimko, N. BabaniniDirector: Carl Theodor Dreyer
Brand: Image Entertainment
Cinematographer: Rudolph Mat?
Cinematographer: Louis Nee
Composer: Wolfgang Zeller
DVD: Region Code 1
Audio: German (Original Language); English (Subtitled)
Format: Black & White, DVD-Video, NTSC, Special Edition, Subtitled
Picture Format: 1.33:1
Running Time: 75 minutes
DVD Release Date: 2008-07-22
Audience Rating: Unrated
Studio: Criterion
Movie Reviews of Vampyr - Criterion Collection
Movie Review: A restored Vampyr
Summary: 5 Stars
Carl Dreyer is a film-maker's film-maker. His films resonate, and are imbued not just with striking images, mise-en-scene and editing choices, but with a numinous nexus of meaning. I'll watch a Dreyer film, and in the course of the days and weeks to come, a moment or moments from the film: a notion, a face, a dramatic epiphany, (or all these things), will return to haunt me. Fortunately it's not usually a spooky haunting, but an artistic one: the mastery of Dreyer as a cineaste strikes notes which always resound in this viewer's soul.
Oddly enough, in the case of Vampyr it is a spooky haunting. Sort of. As the wonderful supplemental features in this Criterion edition of Vampyr make clear, Dreyer wanted to make a "popular" (or at least commercially successful) film after the financial disaster of The Passion of Joan of Arc. Vampires had made at least a modest bite into the popular culture of the 1920s: Nosferatu, London After Midnight and the stage production of Dracula with Bela Lugosi all exploited the public interest in the undead. Dreyer had his subject.
I won't repeat the story of the production tribulations of Vampyr, where Dreyer worked both as a producer and director. Suffice it to say that Vampyr was also a commercial flop. Dreyer had a nervous breakdown and checked himself into the Joan of Arc Sanatarium to recover. He didn't make another film for about another 10 years. As for the film: the original negative for Vampyr no longer exists. The soundtrack, especially in those early days of European sound-film making is horrible. When I first saw this movie long ago back in college, I was entirely put off. The sound sucked, the acting seemed stilted and the print looked
fuzzy, scratchy and just plain terrible. Worse still, it just wasn't scary.
It's still not scary. But it's eerie, and this eeriness is worth consideration. Criterion has cleaned up the movie's sound, and, to the best extent possible, restored the image. Vampyr was a low-budget production and, though it looks antique to us, it was deliberately set in contemporary times. Dreyer found an abandoned factory for the scene where the vampire calls an abrupt halt to the fleeting shadows dancing across the walls during a witches' ball.
These scenes feature startlingly modern compositions, evocative lighting and a fluidly gliding use of camera by Dreyer's gifted cinematographer Rudolph Mate. The musical score has been cleaned up as well, and contributes much to the disconsolate mood of the piece. I won't analyze the plot of the film, (loosely based on Sheridan Le Fanu's short novel "Carmilla") or the character relationships, whose opacity seems as much a characteristic of Dreyer's approach as of his largely non-professional cast's shortcomings as actors. The reason why Vampyr is worth watching is because this film succeeds astonishingly in conveying the surreal, illogical yet poetically thematic experience of dreams and nightmares. The episodes here don't link at all well in terms of narrative structure. However, the quality of light in one sequence (the boat caught in the fog) visually evokes the cascading flour in the mill sequence with which it's intercut. The parallel cutting suggests there may be a meaning linking the two sequences, but there is no overt narrative or even character link. We're left with the soft slow clouds of fog, the briskly tumbling suffocating clouds of flour, and the knowledge that the characters in these parallel scenes are lost. It's a dreamlike, poetic moment, evoked beautifully by cinematic means. Vampyr is the film poetry of unquiet dreams, and worth a visitation. (The special features of this fine two-disk set include interesting critical analyses, a wonderful short feature about the production of Vampyr, a filmed interview with Dreyer, and--- in a supplemental booklet--- the shooting script and a reprint of Le Fanu's "Carmilla." Film school in a coffin-box without the school! Enough to make any self-respecting movie vampire drool!)
Summary of Vampyr - Criterion Collection
With Vampyr, Danish filmmaker Carl Theodor Dreyer's brilliance at achieving mesmerizing atmosphere and austere, profoundly unsettling imagery (as in The Passion of Joan of Arc and Day of Wrath) was for once applied to the horror genre. Yet the result-concerning an occult student assailed by various supernatural haunts and local evildoers at an inn outside Paris-is nearly unclassifiable, a host of stunning camera and editing tricks and densely layered sounds creating a mood of dreamlike terror. With its roiling fogs, ominous scythes, and foreboding echoes, Vampyr is one of cinema's great nightmares.In this chilling, atmospheric German film from 1932, director Carl Theodor Dreyer favors style over story, offering a minimal plot that draws only partially from established vampire folklore. Instead, Dreyer emphasizes an utterly dreamlike visual approach, using trick photography (double exposures, etc.) and a fog-like effect created by allowing additional light to leak onto the exposed film. The result is an unsettling film that seems to spring literally from the subconscious, freely adapted from the Victorian short story Carmilla by noted horror author Joseph Sheridan Le Fanu, about a young man who discovers the presence of a female vampire in a mysterious European castle. There's more to the story, of course, but it's the ghostly, otherworldly tone of the film that lingers powerfully in the memory. Dreyer maintains this eerie mood by suggesting horror and impending doom as opposed to any overt displays of terrifying imagery. Watching Vampyr is like being placed under a hypnotic trance, where the rules of everyday reality no longer apply. As a splendid bonus, the DVD includes The Mascot, a delightful 26-minute animated film from 1934. Created by pioneering animator Wladyslaw Starewicz, this clever film--in which a menagerie of toys and dolls springs to life--serves as an impressive precursor to the popular Wallace & Gromit films of the 1990s. --Jeff Shannon
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