Sergey Kuryokhin once said from a television screen that Lenin is a mushroom. And then the bloody hour proved it in the Sholokhov program, suggesting an astounding, not only unscientific, but also frankly profane hypothesis about its rebirth. Then almost half of the population believed him. Then a lot of letters came to television, in which one part of the writers seriously refuted this version, and the other supported it. I even had to specifically explain to the people that it was just a joke of humor.
Transitional times announced the fragility of traditional faith before the aggressive onset of mysticism, the shattered worldviews and mass dependence on a miracle. In the heads of careless Russians, it was possible to pawn anything: almost everything was taken at face value.
Elias Meridge also decided to mystify the past by proposing a rather bold and even provocative version of the creation of one of the worst films of the twentieth century - the silent masterpiece of Friedrich Wilhelm Murnau “Nosferatu - a symphony of horror” (1922). The tape focuses on the relationship Murnau with German actor Max Schreck, playing the most famous vampire of all time - Count Orlok (aka Dracula, aka Nosferatu), and different, to put it mildly, weird behavior.
From the proposed version it turns out that in real life the actor Shrek was a real ghoul. The fact that Max Schrek, who starred in Germany in more than twenty films and died of a heart attack in 1936 in Munich at the age of 57, is, in fact, little known, became the basis for embodying the bold hypothesis of his infernal entities. On this director inspired rather vague history of the first film adaptation of the book of the Irish writer Brem Stoker - "Dracula" (1897), then repeatedly transferred to the screen.
The image created by Shrek clearly influenced the subsequent performers of the famous vampire - Bela Lugosi, Christopher Lee and Klaus Kinski. In general, Kinski literally copied it in 1978 in Werner Herzog’s remake of Nosferatu - Phantom of the Night. Meridge offers an unusually successful styling for a black-and-white original, with which you can easily confuse the non-colored frames of The Shadow of the Vampire.
Judging by the version presented by the director, Max Shrek always appeared on the set in the image of Orlok - in makeup and a vampire costume. And since the members of the group never saw him differently and in a different setting, they began to take a steady view that this is the natural and everyday look of an actor. And although the prudent Murnau tried to reassure his colleagues, explaining that all this is only a consequence of the artist’s work on the Stanislavsky system, the image of the real Shrek was quickly demonized.
Indeed, the actor’s appearance (judging by the film “Nosferatu - a symphony of horror”) resembled a skeleton covered with leather, something between a ghost and a deceased risen from a coffin. Max Shrek, like his prototype Earl Orlock, came to the set exclusively at night. It follows from Meridge’s version that it didn’t take much effort for him to catch a bat rushing past and immediately suck on her blood. That is why each appearance of an actor caused the members of the film group to be so agitated that some began to have panic attacks, and one person even fell dead.
From a certain point, reality all the more goes to the background in the film, giving way to artistic fiction, perhaps too obvious, but still more intriguing than the historical facts that have come down to us. In contrast to the compassionate Soviet citizens, who at one time were concerned about the fate of the Ilyich mushroom, today hardly anyone foaming at the mouth will refute or share the interpretation of the image of Max Shrek.
It will not be because, at least, that The Shadow of the Vampire is a purely Sinefilian cinema, a feast for true film gourmands. And for them, the projection of light on a white canvas has always been more real than life itself.
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