Friday Challenge - Costume / Character - Count Orlock

[bleodswean]

Robert Eggers saw the 1922 Nosferatu at the age of nine and developed a lifelong vision for his own Nosferatu. His is a finely ground folk horror lens and he views the world through it.

Much can be found online about Linda Muir’s outstanding work on the film. Eggers should have purchased a lottery ticket the day he crossed paths with Muir for The VVitch. How lucky for us that the two of them work together so well and that we get to be taken out of our day-to-day lives and be deeply immersed in Eggers's folk / fable horror BECAUSE Muir makes Eggers’s illusion work through the costuming.

I’m focusing on Count Orlock. He has one costume. The elaborate brocade mente and the fur overcoat with fur hat. The Magyar Hun, the folk costuming of Hungary, the leather / fur elegance of aristocracy and peasantry alike.

An artificially lightened screen shot to show the amazing costuming and posture of Orlock

Eggers's film is DARK. Maybe even too dark? But it works as a whole, and lends to the claustrophobic, clawing fear that something is lurking in the shadows, because actually something is

Count Orlock is only seen in the dress mente, the fur with the extended arms because the cloak is not meant to be worn as a jacket. It's ceremonial dress. He wears it throughout the film.

We know that Orlock's BLOOD is important to him. He identifies through his aristocratic bloodline and demands that Hutter refer to him as is required because of his lineage.

What is amazing is that Eggers, Muir, and Skarsgard are able to project so much of the character through ONE COSTUME!

His most frightening appearance, however, is sans clothing at all! Of course, there are still EFFECTS here because of the prosthetic penis and the Death makeup.

And he will undress again, at the end, with Ellen.

But first he comes to her regally. As her prince, in her bedchamber.

The look of Count Orlock is perfected by the look of Bill Skarsgard. The height and breadth of the actor, the moustache, and the lock of hair. The regality of the costuming adds to the oversized appearance of the character and allows the actor to work with the pride Orlock possesses about who and what he is. Vampire? Yes. But prince first.

Comments

[bleodswean]

There is SO MUCH MORE that could be written about the costuming and characterization of Eggers and Skarsgard's Orlock but I would have to kill a body in order to try to format this again.

One interesting foreshadowing that I adore is that we first see Orlock as Ellen's angel through the diaphanous curtaining in her bedroom. THEN we see him outrageously unclothed in a sexual clinch with her.

When we last see the couple, again, in her bedchamber, she is now woman and bride and he appears in all his clothed glory but soon is undressed again.

[earthspirits]

Oh, and I agree about those dark, dark scenes. At times, very hard to make out details, although it did make for a very scary effect.

Realistic too. No bright electric lights back then, that's for sure. Reminds me of the film "Lincoln". It had similarly lit scenes, for a realistic 19th Century effect.

Of course, one could say that all Eggers' films are just plain dark - not just the lighting (or lack thereof) but the plots. Does make for very arty atmospheric viewing.

*Edited to add: That's an interesting tidbit about Orlok being blood-proud and insisting upon proper protocol when being addressed by Thomas. Ironic for a vampire, but really emphasizes the character's pride and arrogance.

[smokingboot]

This is a phenomenal post, thank you so much for it. While I was aware of the way Orlok seems to physically grow, broaden, etc, I never thought of how the costume influences this.

That first photo of him actually made me shudder. And the one where he and Ellen speak against the window! He's so close, so horrible. But there is something tender about the dip of his head towards her. Tender? it can't be. He cannot love. I don't know what it is. But it is there.

[erimia]

His costume and the whole design is truly wonderful. I love how strongly it is tied with a specific period and culture. You are right that his royal status is extremely important for Orlok, and the costuming contributes to showing this. Interestingly, while Dracula basically calls himself Hungarian in the novel (despite his Romanian name and the tie to the Romanian folklore through Scholomance), Orlok may be only the second more or less explicitly Hungarian Dracula in cinematic history, the first one being Lugosi.