“Listen. The children of the night make their music.”
Herzog’s remake of the original is notable for being more openly explicit that it is an adaptation of Bram Stoker’s novel. Murnau’s original is infamous for bringing one of the first cases of copyright violation to the world of cinema. None of the characters in the original silent version of Nosferatu share names with their Stoker inspiration. By the time Herzog came around, that was no longer even an issue. One particularly interesting example of the way Herzog approaches the task of both remaking Nosferatu while transitioning it into a literary adaptation. This line is very similar to that found in Stoker’s novel, but just different enough to not be a direct quote.
“Death is not the worst. There are things more horrible than death.”
One of the most striking differences between the silent film and the remake is that Herzog has attempted to—humanize, if you will—the character of the vampyr. While Klaus Kinski is every bit as grotesque-looking as Max Schreck, he is given much more latitude in interacting with other characters, especially Lucy Harker. One of the more humanizing moments is this quote that provides a glimpse into the sadder side of the ancient monster.
“The absence of love is the most abject pain.”
Indeed, one might even go so far as to call Herzog’s vampyr a philosopher. Or, at the very least, a poet. Most of the best lines in the film come courtesy of Dracula and this does not reinvent the silent version, it stands as a revolution against tradition. Dracula is a beast, to be sure, but like King Kong he also exudes a certain amount of charismatic empathy. Well, sympathy, anyway.
Warden: The patient that came in yesterday is having a fit.
Van Helsing: Which one?
Warden: The one that bit the cow.
Which is by no means to suggest that Dracula gets all the best lines. One other thing which sets Herzog’s film apart from the silent Nosferatu is the introduction of humor. Mostly dark humor such as the example above. Hitting that last line too hard transforms it into slapstick, fortunately the acting is first-rate throughout and the Warden’s line almost never fails to draw a laugh.
“Time is an abyss profound as a thousand nights.”
Ultimately, what Herzog’s version of Dracula is really about is the dark side of being a vampyr that doesn’t show up in many vampire flicks. Eternal life sounds great, of course, in theory, but imagine outliving everyone you ever come to love and knowing you will outlive everyone you will come to love.
