'Shadow of the Vampire' explores the dark side of film

If you're up for a darkly bizarre pseudo-horror film this holiday season, check out "Shadow of the Vampire," John Malkovich's latest film, which opens Dec. 29.

Malkovich portrays legendary German director F.W. Murnau in this recreation of the shooting of "Nosferatu," a 1922 silent film based on Bram Stoker's novel "Dracula." Though largely unknown these days, "Nosferatu" is regarded as one of the best Dracula movies ever made.

"Shadow of the Vampire" provides an intriguing look at what may have gone on behind the camera of the 1920s horror flick. Its artful presentation and vibrant characters may appeal to some, but the mixed-genre piece is not destined to be sucked up by a mainstream audience.

In "Shadow of the Vampire," Murnau decides to shoot on location in a Czechoslovakian castle, and informs his cast and crew that Max Schreck (Willem Dafoe), the actor portraying the vampire, is already there, preparing for the role. Oh, and by the way, all his scenes are to be shot at night, and he will appear to the crew only in full costume and make-up.

Though based on Dracula, Murnau's vampire is named Count Orlok because Bram Stoker's widow refused to grant Murnau the rights to "Dracula."

Needless to say, the crew finds Schreck creepy, but is nevertheless amazed at his "devotion." "Where did you find him, really?" asks Murnau's producer. "Right here," Murnau responds, indicating the castle where "Nosferatu" is being filmed.

The film centers around Murnau's relationship with Schreck, a temperamental star who would like very much to eat the other actors — literally. Murnau acts like a parent trying to get his child to behave, threatening, "You will have NO closeups!" But Schreck is not to be trifled with. "Tell me how you could harm me when even I don't know how I could harm myself," he says.

For Murnau, filmmaking grants eternal life, and this is what he offers Schreck — ironic, when it would seem Schreck has this gift already. Murnau's leading lady, Greta (Catherine McCormack), complains, "A theatrical audience gives me life, while that thing [the camera] merely takes it from me."

I imagine that Murnau — who died in a car accident at age 43 — would be gratified to see his life remembered eight decades after his silent masterpiece. The original "Nosferatu" also survives, despite the settlement of a lawsuit with Bram Stoker's estate that dictated that all prints and negatives be destroyed.

The recreation of "Nosferatu" is one of the most interesting aspects of "Shadow of the Vampire." The film's director, E. Elias Merhige, uses a wonderful visual effect to show the transition between the colorful "real life" of the set and the black-and-white "Nosferatu," as seen from the eye of the camera. The line between what is real and what is staged is a theme that is underscored nicely by the film-within-a-film perspective.

It is insightful to see the amount of noise and talking that goes into the making of a silent film, as Murnau directs the action or sometimes just elicits "improvisation" from his actors. "Shadow of the Vampire" blurs the real and fantasy worlds of filmmaking in a spooky, often comic way. My favorite line comes near the end when Malkovich opines, "If it's not in frame, it doesn't exist."

The always-flamboyant British TV star Eddie Izzard gives an excellent and uncharacteristically subdued performance as Gustav, a silent film star. I expect Izzard to be popping up in many more American releases, as his talent is only beginning to be appreciated in this country.

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Dafoe is almost unrecognizable as Schreck, and his performance alone makes "Shadow of the Vampire" worth seeing. Both he and Malkovich appear to be having a ball with their roles.

The dark mood is consistent throughout the film and is accentuated by Dan Jones' effective score. Despite the thematic continuity, the plot doesn't quite hold together, and I was especially disappointed by the anti-climactic ending.

The film is a long shot because, despite being well made, it's not scary enough to be a horror film, not funny enough to be a comedy and too intellectual to appeal to mass audiences.

"Shadow of the Vampire" is artfully done and fascinating at times, but not a film that will leave most audiences spellbound. If you like film history, or just think vampires are cool, it's definitely worth a look. Otherwise, make it a double feature with the original "Nosferatu" on video in about six months.