Remembering Bruno Ganz’s Jonathan Harker darker in ‘Nosferatu, vampire of the night’

The great swiss actor Bruno Ganz, who has recently died, the make history by being one of the greatest interpreters in German language of all…

Remembering Bruno Ganz's Jonathan Harker darker in ‘Nosferatu, vampire of the night’

The great swiss actor Bruno Ganz, who has recently died, the make history by being one of the greatest interpreters in German language of all times. Especially remembered are the papers of yours as the extraordinary Hitler ‘collapse’, Damiel ‘The sky over Berlin’ or, without going lejor, the recent Verge of ‘The house of Jack’, who takes the reins of the film from Von Trier in their coming to an end. One of their roles, however, remains usually in the shadows, eclipsed by the charisma of his co-stars: is the Jonathan Harker in ‘Nosferatu, vampire of the night.’

it Is one of the films more personal and unclassifiable Werner Herzog, is a merit especially noticeable when being a remake of the that the own Herzog considered the best film in the history of the German film, ‘Nosferatu’ by Murnau, 1922. In its 1979 version, the monstrous vampire was played by Klaus Kinski, and Lucy, the eternal victim of the vampire was Isabelle Adjani -as in the version of Badham in the same year, Lucy and Mina exchanged their usual roles-.

Kinski and Adjani were one of the couples most extreme in the history of film vampires, a romantic tenderness, and where death and love were hand in hand in a whole. the Interpretations introverted, make-up cadaver, Adjani in a timeless trance with a pallor from beyond the grave, and Kinski exhibiting a makeup and a behavior absolutely at the antipodes of the above-mentioned ‘Dracula’ Badham. And between the two, Bruno Ganz as a third party in the discord.

Jonathan Harker is an essential character in the original book of ‘Dracula’ of Bram Stoker’s dracula: the is the one who introduces the reader into the dark world of the vampire, traveling to Transylvania to sell a property to Count. It will be, after returning to London, surviving by the hairs to the machinations of Dracula and its dangerous and seductive brides, one of the adventurers who, in the company of Van Helsing, den hunting, and annihilate the dangerous predator.

Ganz tunes with the amazing performances of Kinski and Adjani: when in contact with Dracula seems mesmerized by its presence, and its awful aspect, it does not makes it react as it would be logical to, putting earth between him and that castle, which, according to the gypsies of the area or even has a semblance of being real, or being inhabited by something that are not spectra. But it is with Dracula, even knowing that their physical integrity is in danger.

A Jonathan Harker’s different

There is where comes the expertise of Ganz to find a middle term between the normality that facilitates the identification of the viewer, the horror at the monstrous appearance of Dracula, but also to soak in the atmosphere and eccentric of the film of Herzog. In that sense, it is the unforgettable moment in which Dracula enters his room and he gets petrified, unable to move. Until he reacts, but the only thing that is able to do is agazaparse on the headboard of the bed, at the total mercy of the vampire.

In the novel of Stoker’s dracula, when Jonathan Harker discovers that Dracula has been party to London, what follows barely and is cared for until it is recovered thanks to the intervention of Mine (the character in the film Herzog is Lucy) in a convent. Here you get to get home, but at the expense of their physical and mental stability: does not recognize his wife and practically becomes a corpse peddler, that can only be in the house, immobile,, served as a sick person.

But again the brilliance of interpretation of Ganz shines in the composition of Harker’s, which reinforces the plot twist that seeks to Herzog: become a vampire like Dracula, but not a servant as Renfield, but in a real bloodsucker. the His final revelation is enhanced by the humor that Ganz injected into his character, perhaps the only one so direct all the film, when she asks a servant to remove a few remains of the consecrated host that prevent you from moving. With a graceful and hilarious break out of his confinement and with renewed force after the death of Dracula, asked to seal the room where he killed his wife and ensillen a horse.

it Is he who stars in the last shot of the film: in an abstract plain where the wind creates swirls of sand, perhaps a beach for a while before served as the backdrop for the romantic walks of Harker and Lucy, the new vampire from a horse. An ending that we rarely see in the adaptations of ‘Dracula’, but in the version of Herzog, after the terrifying end scene in which the ex-human he shows his sharp teeth, it becomes automatically iconic. And the interpretation of Gantz, human, humorous, but related to the hypnotic unreality that dominates the film, has a good part of the blame.

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The news Remembering to Bruno Ganz’s Jonathan Harker darker in ‘Nosferatu, vampire of the night’ was originally published in Espinof by John Tones .


Remembering Bruno Ganz’s Jonathan Harker darker in ‘Nosferatu, vampire of the night’
February 18, 2019

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