If you have read the horror stories of the European Middle Ages, almost without exception, they have a close relationship with Taransilvania. Until modern times, Verne still used the great deterrence of Taransilvania to write "The Castle of the Carpathians". This book is lying quietly on the bookshelf in Figure 4. Last semester, After reading this book that no one has read for a long time, my curiosity and yearning for Taransilvania have reached an unprecedented level.
I imagined that one day, I could walk into the jungle of Taransilvania and march towards the remaining castles, listening to the darkness and light of the Middle Ages fighting, listening to the decline and glory of the Middle Ages.
Taransilvania. I always sigh softly every time I say these words.
A land full of disputes, Romania and Hungary are still fighting for it today.
A cursed land, all the horror and legends of the Middle Ages still use it as the background.
This is the hometown of Nosferatu, and another of Nosferatu's more well-known name is Vampire.
It is not clear whether the Carpathians made Taransilvania or Taransilvania made the Carpathians, but it is certain that Nosferatu made them.
"Nosferatu, the immortal monster. He drinks human blood and turns the victim into a black ghost. Like a ghost, he has no reflections. He walks through the wall and enters the room. Like entering no one, like a bat, floating Enter the dark bedroom. Dress up as a black wolf, hunting victims everywhere. Whoever is caught by him will completely lose hope." Adjani said in the film.
It has been fifty years since the first edition of Nosferatu in 1929 to 1978, but Europeans and Americans are still rendering their nightmare at an extremely slow pace.
There are no demons who suddenly insert the camera, no excessively exaggerated music, or even a half-shocking plot. Maybe it’s just holding the biggest horror element of Nosferatu, and there is no need for other little horrors to mix it up. All the director has to do is to talk about Nosferatu and Earl Dracula. s story.
The most horrible scene in my impression is the one in which Dracula went to find Ajani, who was in front of the mirror at the time. At the beginning, I could only see the door slowly opened and then closed again, and the dark shadow that gradually grew larger. These are not the points, because they are not scary at all, they are not the protagonists of this scene, or even just some small details.
The protagonist of the lens is Ajani. In the mirror, Ajani does not simply open her mouth like a normal actor. She just lets her eyes widen as the dark shadow grows larger, and her beautiful pupils gradually expand. , What expands is not only the eyes, not only the pupils, but also the deep fear.
In this scene, Dracula had a strong atmosphere of horror without having to play. Everything is so simple, no special effects, no music (no background music at all), only Adjani. With Ajani, there are those vivid eyes, the subconscious body language, and the panting of surprise and fear. Everything is so difficult, don't yell girls, don't be helpless women, all you want is Ajani.
Recalling this scene, what I admire most is the mirror. Under such fearful eyes, there is no fragmentation, it seems that only the audience's heart is fragmented. And the mirror, I think it's crazy.
The director must have heard Truffau’s rant: “Your face alone can tell a moving story, and your eyes alone can create a dramatic atmosphere.”
As the first to discover Adjani’s unsurpassed acting skills And a charming director, Truffau is undoubtedly correct.
Director Weiner Horso listened to it and shot it like this.
It turns out that horror movies can be shot like this.
What is the ultimate despair?
Adjani passed through the coffins scattered on the street and the carnival crowd. She turned around in confusion and looked at the joyous crowd again and again. Looking for the remnants of reason among the presumptuous mice, she greeted Adjani to join the carnival alone: "Anyway We can't escape the plague, so it's better to have fun in the rest of the time."
This is the ultimate despair, the ultimate reason.
Tell the world sensibly that nothing can help us. Even Van Helsing is so incompetent and pretending to know everything but knows nothing. There is only so much left to do.
So everything was pressed on the shoulders of the weak woman again, and only she could make Count Dracula forget the passage of time and welcome the morning sun and death.
Ajani washed away the madness in "The Story of Adele Hugo" two years ago, and turned into a little woman in "Nosferatu" who dedicated herself to love, soft outside and strong inside. Without being superior to other actors, without sharp acting skills, she just quietly performed her role to set off Earl Dracula.
She knows that when the movie revolves around her, she must bloom her beauty and shock everyone; when the movie is not around her, she just needs to play well to set off the center of the movie. She knows that as an excellent actor, not every movie has to be otherworldly. Sometimes, she just needs to crane her neck to reveal the slender and perfect neckline, which attracts the Count Dracula in the dark.
In fact, the same is not true of being a person and doing things-taking the right role and doing the right things at the right time.
If you are Maggie Cheung, please be so radiant in "Ruan Lingyu" that people can't look at me, and please remember to keep your duty in "Rolling Red Dust" and don't try to dance on Qin Han's feet in vain.
Adjani is like this in "Nosferatu". She abandoned her groundbreaking acting style and used a micro-strip drama style exaggeration to perform. An extraordinary story, a nightmare buried deep in my heart, just like that.
This is not a film that perfectly shows the mystery of Taransilvania and the horror of Nosferatu. It does not even perfectly show the beauty of Adjani—except for those eyes that cannot be concealed and the lead. The neckline of people's reverie.
But it restored our nightmare-at the end, the figure riding towards Taransivania on horseback, gradually drifted away, and gradually took root in my heart. Perhaps the biggest horror came so slowly, not to scare you. It makes you feel deeply afraid of every thought.
A daily sentence from Adjani: "I have no fear of being less beautiful, I've always been afraid of not being beautiful."
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