Dreyers Vampyr Essay -- essays research papers fc

Vampyr doesn't play like a horror, or even a suspense film, though there are a few scenes of each. Instead it is a mystery, with information gradually given to the audience. The plot follows an aimless young man, a devotee of the occult, who visits an inn where numerous odd people are about. There is little talking as Dreyer is a visual story teller. Vampyr is the kind of film where dialogue like "the wounds have almost healed" and "why does the doctor only come at night" are given without explanation. We make sense of what is going on as he starts to piece together what is happening and who is causing it. Dreyer effectively establishes a mood by use of shadows of objects and people. The leading actor remains a cipher; if this was a book, it would be entirely in the passive voice. Things happen to the characters; they don't initiate actions (which on initial viewing seem unrelated). The film picks up when a man leaves a book in a room- "to be opened after my death." He is killed and the book is about vampires. Vampire mythology was less well known to audiences than now, and while a Hollywood film would have used dialogue to explain, Dreyer relies on exposition pages from the book. Dreyer frequently shows actions by shadows cast by the characters we already know. This fits with the film's style of indirection with plot by inference rather than by direct narrative. The film is filled with memorable images: a skull turning to watch; a shadow walking over to join its subject sitting in repose; point-of-view filming from inside a glass-topped coffin as the lid is nailed down and then carried out to the churchyard for burial. The story goes that the first few days of filming was damaged by a light leak in the camera, but Dreyer liked the effect so much that he had the rest of the film photographed to match. As a result, the image quality on this picture has never been as pristine as a film from the 1932 could look. Rudolph Mate was one of the finest cinematographers in Europe, and we can be sure that the photography looks exactly as Dreyer wanted it- the sense of a dimly remembered dream. Amidst the fogginess, shots of machinery in a mill are as sharp as a tack. Of special note is that the horror is created, in large part, by suggestion rather than a heavy sledgehammer approach, In the most famous sequence of the film, the man d... ...0 years ago. The film is not so horrific as it is lyrically creepy. There are so many famous images from "Vampyr" which are found in most film history books. I've seen many stills from this film and found that the movie is still full of other images which are just as striking as the famous shot of the vampire looking into the hero's coffin during a nightmare. The camera is rarely if ever stationary. There are many tracking shots which must have been an influence on Scorsese. People enter and leave the shot which may travel from outside and through several rooms of the house. All of this makes the movie fly by as there is little or no static in the movie. "Vampyr" challenges the conventions of movie making. It also challenges the viewer. The small indie film maker would do well to get this film and study it frame by frame. Many lessons on how to stretch the boundaries of the artform are on display. It is ironic that nearly 70 years later, not many filmmakers have achieved what Dreyer did with primitive technology. "Vampyr" is a groundbreaking work of art which should be on everyone's must see list. Works Cited: me, I. Belly busting. (London: 1994.) Dreyer's Vampyr Essay -- essays research papers fc Vampyr doesn't play like a horror, or even a suspense film, though there are a few scenes of each. Instead it is a mystery, with information gradually given to the audience. The plot follows an aimless young man, a devotee of the occult, who visits an inn where numerous odd people are about. There is little talking as Dreyer is a visual story teller. Vampyr is the kind of film where dialogue like "the wounds have almost healed" and "why does the doctor only come at night" are given without explanation. We make sense of what is going on as he starts to piece together what is happening and who is causing it. Dreyer effectively establishes a mood by use of shadows of objects and people. The leading actor remains a cipher; if this was a book, it would be entirely in the passive voice. Things happen to the characters; they don't initiate actions (which on initial viewing seem unrelated). The film picks up when a man leaves a book in a room- "to be opened after my death." He is killed and the book is about vampires. Vampire mythology was less well known to audiences than now, and while a Hollywood film would have used dialogue to explain, Dreyer relies on exposition pages from the book. Dreyer frequently shows actions by shadows cast by the characters we already know. This fits with the film's style of indirection with plot by inference rather than by direct narrative. The film is filled with memorable images: a skull turning to watch; a shadow walking over to join its subject sitting in repose; point-of-view filming from inside a glass-topped coffin as the lid is nailed down and then carried out to the churchyard for burial. The story goes that the first few days of filming was damaged by a light leak in the camera, but Dreyer liked the effect so much that he had the rest of the film photographed to match. As a result, the image quality on this picture has never been as pristine as a film from the 1932 could look. Rudolph Mate was one of the finest cinematographers in Europe, and we can be sure that the photography looks exactly as Dreyer wanted it- the sense of a dimly remembered dream. Amidst the fogginess, shots of machinery in a mill are as sharp as a tack. Of special note is that the horror is created, in large part, by suggestion rather than a heavy sledgehammer approach, In the most famous sequence of the film, the man d... ...0 years ago. The film is not so horrific as it is lyrically creepy. There are so many famous images from "Vampyr" which are found in most film history books. I've seen many stills from this film and found that the movie is still full of other images which are just as striking as the famous shot of the vampire looking into the hero's coffin during a nightmare. The camera is rarely if ever stationary. There are many tracking shots which must have been an influence on Scorsese. People enter and leave the shot which may travel from outside and through several rooms of the house. All of this makes the movie fly by as there is little or no static in the movie. "Vampyr" challenges the conventions of movie making. It also challenges the viewer. The small indie film maker would do well to get this film and study it frame by frame. Many lessons on how to stretch the boundaries of the artform are on display. It is ironic that nearly 70 years later, not many filmmakers have achieved what Dreyer did with primitive technology. "Vampyr" is a groundbreaking work of art which should be on everyone's must see list. Works Cited: me, I. Belly busting. (London: 1994.)