Absent Precences Nosferatu

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Murnau 's Nosferatuand the Otherworld of Stoker's Dracula

"Life is nothings"'- Bram Stoker

Itbough ibe credits of F. W. Murnau's Nosferalif acknowledge Bram Stoker's Dracula

as the fictional source of Henrik Galeen's screenplay,' most critics tend to dismissany thematic connection between novel and Him. To Lane Roth, for instance, Nosfcmlu,

tar from being "an individual filmmaker's vision of a literary work." is essentially "anexpression of ihe tJerman 7.vii^cisi" ol'lhe Weimar Republic and, particularly, of the "mys-

ticism and fantasy" that the expressionist Schauerj'ihn bad inherited from traditional Ger-man Romanticism (312-13). David Walker concurs, adding \.\\aiNosfera!u\ "teutonic fla-



230/Mumau"s Nosferatu and the Otherworld of Stoker's Dracula

affinities with the Germ an R omantic spirit in his novel. In order to demon.strate how Murnaudistills the Stimmimg or existential mood of German Romanticism through Stoker's influ-ence, ! shall focus on two intermeshed aspects of what critics label I^osferalu's fantasticGermanness: absent presence and liminal landscape.

As Angela Dalle Vacche rightly remarks, Mumau "slim[s] his protagonist down to anevanescent, flickering fragment of the German nocturnal imagination [. . . ] " (182). LloydMichaels echoes her insight by observing that what distinguishes the Mumau and HerzogNosferatus from other non-German film versions oi Dracula is that their vampire-counts,•'[un]Iike their English-speaking counterparts [. . .| manage to signify elusiveness, ratherthan presence, lack rather than excess [ . .. ] " (68). The implication is that there is som ethinginnately Germ anic about the motif of absent presence on which M urnau pivots his Nosferatu.

and which he culturally bequeaths to Werner Herzog's 1979 remake. Conversely, it couldbe argued that Mum au inherited this bizarre theme from, say, Friedrich de la Motte Fouqu^,whose novel The Magic Ring epitomizes the German Romantic obsession with the shad-owy self fragmenting into a more insubstantial parallel realm. Such a preoccupation withthe ghostly double of a dislocated or dissolving personality is clearly an earlier manifesta-tion of Helldunkei which Lotte H. Eisner defines as "a sort of twilight of the German soul"(8). In temis of Nosferatu as adaptation, however, this is only half the point. For absentpresence is a reiterated theme in Dracula. That Nosferatu terrifies the Empusa's sailor byhis diaphanous appearance owes, in fact, much less to such Hoffmann doppelgdnger talesas "The Story of the Lost Reflection" than to Stoker's description of the Demeter mate'sordeal w ith D racu la's physical vacuity: "On the watch last night I saw It, like a man. tall andthin, and ghastly pale. It was in the bow s, and looking out. I crept behind It, and gave It myknife, but the knife went through It, empty as the air" (113). Such testimony confirms thatDracula's disappearing act before Olgaren's eyes is neither a product of madness on this

sailor's part nor a trick of the dark, but rather D racu la's uncanny ability to be. and not to be,simultaneously. Evidently, then, what haunts the Empusa's hold—an entity through whoseinsubstantiality stacked coffms are clearly visible—originates from what lurks on theDemeter\hovj\ the spectreo f "no one "(1 12) . The disclosure that Dracula's realm is darklyethereal is funher proof that he is the literary prototype of Mumau's translucent count, 'ilove the shade and the shadow " (32), Dracula tells Harker, whose initial encounter with himas the dark driver establishes the latter's physicality as one of imm aterial materiality: "W henhe [Draculal stood between me and the flame he didn't obstruct it, for 1 could see its ghostlyflicker all the same" (18).

Gwenyth Hood implicitly draws attention to this incorporeal materiality in her compari-

son of J. R. R. Tolkien's Sauron with Stoker's vampire: "Unlike Dracula, he [Sauron] hascompletely lost his body |. . , |" (223). As retribution for having defied the ban of the Valarprohibiting the invasion of the Undying Lands. Sauron's fair physique dissolves into whatTolkien calls "a dark w ind" (111, 317). Dracula is really no such evil discamate. Still. Dracula'sis the body of no body, and thus what he m ost closely anticipates in To lkien's world is whatPatricia Meyer Spacks calls the "physical nothingness" (86) of the Nazguls or Ringwraiths.What the Black Ride rs, and indeed both Sauron and Nosferatu, inherit from Dracula then ishis unholy holtowness. Hence Drac ula's shadow lessness. Dracula, in Van H elsing's wo rds,"throws no shadow [and] make[s] in the mirror no reflect" (289), further indicating that it isagain in Stoker that Mumau finds his thematic justification for that startling shadow that

renders Nosferatu so untypical of the Victorian Gothic vampire. The crucial point here isthai it is partially because of the shadow he casts that Nosferatu comes to embody the



M um au 's O theruorld of Stoker's Dracula/231

manifestation of the Romantic literary doppelganger motif, whose sou rce Roth traces to the"tradiiional Germanic preoccupation with Dualismus" (5). Judith M ayne delves deeper intosuch "dualistic categories of thought" in both Mumau and Stoker: "Central to both Dracula

and Nosferatu [. . .| is a dangerous territory where opposing terms are not so easily distin-

guishable" (27). For Murnau's is essentially not a vision of polarities. Nor for that matter isStoker's. Indeed, Nosferatu comes closest to Dracula in its appropriation of the centralStokerean notion that light is darkness. This motif is a vital variant of the "absent presence"theme in both novel and film.

Consider, for instance, those two scenes depicting the Empusa captain's deserted cabinwhere Murnau's focal point is lilerally the most minima! of visual details—what Eisneraccurately describes as "the reflection of the sustained, monotonous swinging of a sus-pended lam p" (105). Whai should be added, however, is that the lamplight subtly evokes byiis sudden abrupt shifting the vampire's jerky movement, thereby hinting at Nosferatu'sethereal presence in the cabin. Nosferatu powerfully exemplifies Murnau'.s "cinema of thin

air" (15) . as Gilbe rto Perez insightfully labels it, through such haunting m oments as thisone when the ethereal darkness that heralds Nosferatu's rattish entry into Ellen's (Mina's)bedroom suddenly becomes a wild oscillation of light. Gregory A. Waller seems thereforeoff the mark when he writes ihni "in No.'iferatu. opening a door or window is an action [.. .|thai creates the possibility for (. . .] letting in the sunlight and letting in infection and dark-ness" (182). For Murnau conceives light in tenebrous terms, and dawn becoine.s no lessdeadly than twilight—as the vam pire's sunlit death dramatically dem onstrates, Mumau couldhave hardly conceived a more elementally fitting demise for his vampire of dark light thanthis change from Dracula's death by impalement of the heart to Nosferatu's dissolution bythe sun.

Mumau's denouement may be superior to Stoker's but this in no way minimizes, how-ever, what theGemian film owes lo D racidu. For the concept of the "dark light" vampire is



232/Mumau's Nosferatu and the Otherworld of Stoker's Dracula

elemental dust" (290). Such Stokerean images are also evidently the source of Nosferatu'sweird and allegorized surrogate: the polyp that Professor Bulwer, the film's noncmsadingVan Helsing, presents as eviden ce of a preying force that is paradox ically a visible invisibil-ity, "tran spar ent. . . almost incorporeal . . .almost a phantom "(252). If Nosferatu is viewed

in terms of Andre Bazin's imprint concept of the cinematic image as a kind of death-maskmoulding through light manipulation (12), one might say that what Mumau imprints onscreen is Dracula's insubstantial substantiality. Nosferatu is almost the quintessence ofDracula's evanescence: an ethereal manifestation of that "unmirrorable image" (74) thatDavid Glover rightly labels "physiognomy's tme vanishing point" (74). Hence Mumau'sreliance in the latter half of his film on high-angled long shots that establish quite disturb-ingly the viewpoint of something unseen hovering over the Bremen streets. As Perez saysof Nosferatu's sightlessness: "His presence is felt in the air" (19), much like Dracula's is inWhitby, where old Mr. Sw ales draws M ina's attention to it in words of eerie poetry: "Maybeit's in that wind out of the sea that's bdngin' with it loss and wreck, and sore distress, andsad hearts. Look! look! 1. . .] there's something in that wind and in that hoast beyont thatsounds, and looks, and tastes, and sm ells like death. It's in the air" (99). Just like Dracu la inWhitby. Nosferatu in Bremen is essentially a flitting iiminality.

What Nosferatu crucially shares with Dracula is this threshold kind of existence: they areborderers or liminal figures helplessly hedged between the seen and the unseen. Signifi-cantly, while edging into Ellen's sight, Nosferatu manifests invisibly in terms of a symbol-ogy of infinity, which finds embodiment in the illimitable seascape Ellen scans from thebeach cemetery where she stands. Dalle Vacche roots this culturally in the influence onMumau of David Caspar Friedrich's "elegiac or sublime" (171) marine painting, and spe-cifically of The Monk by the Sea (1809-1810). That Mumau shares Friedrich's aestheticpreoccupation with "mak[ing| visible the invisible" (168), as Dalle Vacche rightly puts it,

can hardly be denied. It is, however, highly debatable as to what extent Ihis shared concernis simply the result, as Dalle Vacche suggests, of Carl Neuman, Mumau's art mentor atHeidelberg, having convinced his pupil that he should concern himself "with what makesGerman art Ge rman" (165). Notw ithstanding the likelihood of such Wolflinian nationalis-tic aesthetic tendencies (164-65), Mumau's beach scene ultimately owes its inspiration toStoker—and not to Friedrich. What is truly at stake here is that Mumau's Ellen only seem-ingly shares Friedrich's monk's marine edge—-for the awe of the "hollow space" (17), toquote Perez's phrase, that she confronts at this existential border, recalls not Friedrich'smonk but Mina Harker. Mina is not only another RUckenftgur. but also one whose scryingof the seascape from an equally liminal location, the churchyard cliff at Whitby, powerfully

portends in terms of Burkean limitlessness the horror vacui of her German equivalent. AsMina notes in her joumal: "The horizon is lost in a grey mist. All is vastness; the clouds arepiled up like giant rocks, and there is a 'b ro ol' over the sea that sounds like some p resage ofdoo m " (98). As in M um au's beach scene, the terror of the Stokerean Undead is all the m oreinvisibly grand because it is not visually affirmed. It is evident that it is to Stoker's seascapeof unrelieved greyness, and not to Friedrich's darker sea redeemed by intimations of im-mortality through seagulls on the wing, that Mumau owes the sublimity of the vampire'svacuity.

It is rather strange then that Dalle Vacche should pivot her Murnau/Friedrich beach par-allel on the following quotation from Joseph Leo Koemer: "Friedrich empties his canvas in

order to imagine, through an invocation of the void, an infinite, unrepresentable God" (16).What Koemer's trenchant comment recalls to mind, rather, is Friedrich's Wordsworthian



Murnau's Nosferatu and the Otherworid of Stoker's DracuIa/233

scape as spiritual hierograph" (78), But what Friedrich says about his painting Swans in the

Rushes (c. 1819-1820), and particularly about the divine essence of his reeds, is in no wayapplicable to the reedy dunes of Murnau's beach. Admittedly. Murnau's seascape, likeFriedrich's in The Monk hy the Sea, is a meditation on spatial vacuity; but what Mumau's

void leaves unrepresented is not a divine transcendence but its inverted presence or whatmay be termed an anti-divine state. Murnaii's Nosferatu incarnates in ihis respect S. L.Vamado's concept of his Stokerean progenitor as the embodiment of Rudolf Otto's "nega-tive numinous" (Varnado 101-02)." Hence Mumau's tottering crosses, which suggest thatthe "contamination" (8) Robin Wood rightly detects in M um au's beach scene, with its promiseof sea-hom e pestilential coffins, is essentially a malaise of the spirit, Mumau inverts thetraditional association of the sea with what Wood calls "purity, or purification" (8). rootingthe point of liminality in a beach cemetery.

To conclude, however, as Rona Llnrau does, that what therefore concems Murnau is notStoker's "fear of becoming Un-Dead"(236) but "fear of human extinction [or] mortality"(236-37) — a feature she finds "typically Germ an" (237)— is to simplify both film and novel.What is central in both Murnau and Stoker is not fear of the Undead, of being in an absentpresent state, but the ambivalent attraction/repulsion that such a state elicits in mortals.Significantly, though Harker shares none ofhis filmic counterpart's interest in the vampire'scoffined body, but simply his revulsion. Mutter's advancing/retreating movements in the"crypt coffin" sequence are as explicitly at cross purposes as Lucy's repeatedly clutchingand dropping the antivampiric garlic in Stoker's novel. Wood rightly intuits that, no lessthan Nosfcriilu. Draciihi is "about the human fear of death" (16),' for it is fundamentallysuch a fear that determines the attraction/repulsion complex in both Mumau and Stoker,The vampire attracts and repulses simultaneously by offering immortality to nonliving en-tities. Hence the absent presence and its mesm erizing/terrifying influence on Ellen, But

Ellen's sea vigil is set on a Stokerean beach of graves, since Death is equally the,^fH/H.v/cc/of Whitby, More thematically apposite in this context is the visual parallel Dalle Vacchedraws in temis of "spectral qua lity" (164) between the image of Nosferatu crossing a Bremencanal in a boat "which glides across the water by itself (164) and Amold Bocklin's bargescene in the painting The Isle of the Dead (1880). For Mu m au's Ellen, as has been stated, issublimely perched on the edge of a seat of death that the unseen Nosferatu navigates like theStygian ferryman. But once again. Mumau's vision of Nosferatu's ship as a seif-sieeredCharon skiff recalls Stoker rather than Bockiin—for Dracula's "strange ship" (100), ridingthe gales beyond Mina's ga/e, is, unlike Bocklin's barge of death, supernaturally steeredlike the ghostly galleon in Cokridgc'fi Rime of rhe Ancienl Mariner. As Devendra P, Varma

observes: "in its voyage from Varna to Whitby the Miiterial Ship tums into a PhantomShip" (211), There is , however, no supematural navigation in Bocklin's 1880painting, whichDalle Vacche reproduces in her text, nor for that matter, in any other version of The hie of

the Dead.

Every element, then, in both the canal and beach scenes points to Stoker's Draciila as themajor source of Mumau's uncanny vision. The very name of Stoker's ship, Demcter. rein-forces, for instance, Evans Lansing Smith's reading of Murnau's vessel as "the mother ofDeath" (243). since "Dem etcr is the name of the mo therof Persephone whose yearly abduc-tion into Hades" (243) leaves an absent presence in its wake. Even the way old Swalesdescribes Dracula's ship when he glimpses it—"steered mighty strangely |, . .] changes

about with every puff of wind" (I(X))—prefigures visually Murnau's wildly shifting patchof light in the captain's cabin. As Jam es Craig Holte as,serts: "No other adaptation of DracuUi



234/Mumau's Nosferaiu and the Othenvorld of Stoker's Dracula

tossing Mina over the edge, but it is still to Stoker, and not to Friedrlch. that Mumau oweshis inspiration for Ellen's plunge into perdition. Nosferatu recreates Dracula in the sensethat it propels Stoker's text onto what both the Victorian novelist and Weimar filmmakeranticipate: the Heideggerian/Sartrean vision of the nothingness of being.

Mumau's unsettling journey into the darkest of existential iiminal territories is essen-tially a voyage into the Stokerean nothing: and this is further evidenced by Hutter's phan-tasmal coach ride that Dalle Vacche associates exclusively with Gernian Romantic expres-sionist painting: "Hutter's cross[ing] into the land of phantoms [. . .| provides a possiblereference to Alfred Kubin's f antas ticpictu reso fcoa ches travelling through the forest | , . . ] "

(170). Admittedly, what Thomas Elsaesser notes about Albin Grau. that he was "a friend ofnovelist-painter Alfred Ku bin" (13), seems to validate such intriguing attem pts to trace thenegative or reversed phantom carriage sequence to the coach drawings of Kubin. For it wasGrau who designed the film's costumes and decor for Murnau. Quite understandably, then,Michel Bouvier and J. L, Leutrat go further than Dalle Vacche and actually suggest thatMumau's source could be Kubin's The Road to Zwickledt (323).'* It should be noted, how-ever, that though Murnau's negative image transforms Galeen's "fairy-tale forest" (Murnau

242) into a Mdrchenwald of spectral paleness, it still retains the car riage's blackness, therebydifferentiating the latter frum Kubin's Zwicklcdi moonlit equivalent. Ironically, It is Mu m au'scarriage sequence with its reversal of what Bert Cardullo calls "the usual positions of lightand shadow on objects" (29) that creates the "chaos of light and shadow"{ 18) in which, asEisner says, Kubin usually excels. What Murnau charts through the progress of the blackcaleche is a geography of unearth I i ness. For the coach's startling unbleached appearance ina completely bleached landscape hints at a realm that transcends the eerie forest of Kubin toevoke the Iiminal portal of Stoker. What the carriage's saccad ic or fast-motion rhythm sug-gests, in fact, is the chilling line which, as Diane Milbum rightly notes. Stoker "slightly

misquote[s]" (45) from Burger's ballad "Lenore": "For the dead travel fast" (15). Signifi-cantly, Murnau's carriage plunges into the descent of no retum by accelerating to the spiritspeed of its Stokerean counterpart at the Borgo Pass—thai equally bizarre border of para-doxes where a Zeno-likc trajectory of "straight ro ad[s]" (16) takes Hark er's ca lich e "overand over the same ground again" (16),

Again, despite the intriguing paiallels David B. Dickens draws between L enore's "mid-night ride" ( i 3 6 r and Ha rker's, with their shared pretematural celerity that makes "timerace [. . .] past [while] also seem[ing] interminable" (136). the nightmarish spatiality ofBurger's road ballad, like that of Goethe's "The Erl King" that it prefigures, lacks the anti-thetical Stokerean m otif of journey ing in linear circles. So does G oeth e's Fauai—for though

its M ephistopheles does m ention the damnation of "endless circles" (34),'" as Dickens quotingLeonard Wolf re-emphasizes (16 n.58), such circular movement differs radically fromHarker's whose fate is to circulate by travelling straigbt. Such is the Stokerean road tonowhere—what Clive Leatherdale calls a "dream-like unreality" (169)—that leads Harkerto the invisible approach to Castle Dracula. Mumau similarly shows a path where there isnone by subjecting Hutter to a joum ey conceived as "unmappable in lits) contours" (9 3) "—a joum ey in negative images whose inverted chiaroscuro properties hint at phantom landunseen, or what Perez filmically calls "the space off screen" (16). The right realm, onewould say. for an absent present wraith: the realm of the "out of frame" (16), to use againPerez's phrase. In Derridean terms, Nosferatu excels because it recreates Stoker's verbal

text (where, as Glover states, what matters is "matter out of p lace" [711) in an out-of-filmictext, beyond the frame: the hors-champ is virtually its (un)seen world. The source of this



Mumau' s Nosferatu and the Otherworid of Stoker's Oraaila/235

twilight associations. If, as Eisner states, "[tlhe German soul instinctively prefers twilightto daylight" (? I). so does Stoker who. like M urnau, d istills his art through a Gothic grisaille.

Saviour Catania

University of Malta

Notes

' See Brajn Sloker, The F.r.seiuiul Praailti. edited ant) anmitiiled by Leonard Wolf (New Yiirk: I'liirtif, I W 3 | 287,

Lics to this iMiitiun are giv en uftcr quo tations in the t c « .

' All references lo Murnaii's Nnsferaiu are in the Redemption videocosseiie copy ol the film

' G«rtrud M ander's iraniilaiinn nf Galecn 's scripl fur Nasfenilu is included in Eisner's Mumau 227-72.

'C i t e d in Km-riiiT lf>

' See Wordsworth's poem in Oe Sclinciiiirl 262,

''F o r an insighiful anulysi)> of D raeula a t u Vicioritin spec imen of the "negative num inou s." s(.*c Vamado 101-02.

' See also Wheeler's com menis on Ph ilippe Af its's anutysis of the Victorian dread of physical exlinction. 32-33.

* See illustration in Bouvier and Leutral 323,

' See also Ruther's comtnents on German and English "vampiric 'cross-feriili/ation. '" 5S,

'" See Dic-kens's aniclc in Miller .tl-40,

" See Shepard 93 .

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