Getting in Bed with Pop Culture

One of the most well-done scenes in Nosferatu is a montage near the climax of the film that achieves almost Hitchcockian suspense. It is at this point that the race for Mina between Harker and Dracula reaches an almost fervent pace. Here, the audience is unsure of what the conclusion might be and which side will triumph. This scene symbolizes the race between the traditional and the unknown, which is ultimately the battle represented in the film. In fact, this scene supports the film’s message that, though unforeseen obstacles may arise to threaten society’s security, heroes can arise who, through sacrifice, can help others.
The director of Nosferatu, Murnau, effectively used a succession of images also known as a montage to develop feelings of anticipation and suspense. The first scene in the montage shows Mina scurrying diagonally across the screen, clutching her shawl across herself. Then, a close-up of the billowing sails on a boat is shown to represent the rapidly approaching boat (carrying Count Dracula). Then, a shot of Renfield trying to scale the wall of the prison is presented. Next, there is a longer shot of the boat moving onto the screen from the right. Finally, Renfield is shown from behind, trying to look through the bars of his high jail window. As the music reaches a frantic pitch, titles are shown saying, “The Master is coming! The Master is here!” These juxtaposed images are combined to create a flowing narrative of the feared Dracula entering Mina’s once benign world.

Ultimately, this film’s message is one of sacrifice in order to preserve a serene, romantic lifestyle. When Mina’s home and community is threatened, she is willing to sleep with the vampire to maintain the life she is accustomed to. The montage scene lays the battle between good and evil out in visual terms by juxtaposing Mina with the ship carrying the vampire. It also foreshadows the action Mina will have to take to save that which she loves. By creating such a dramatic montage at this point in the film, the filmmakers are trying to draw the viewers’ attention to the fact that these concepts are of central importance to understanding Nosferatu.

Some cultural critics have drawn comparisons between vampires and mechanized art forms such as cinema. They think that mechanized art drains the life and creativity from art just like a vampire drains the blood from his victims. By extending this metaphor, we could claim that it may be necessary to “lay down” with mechanized art for certain periods of time. Indeed, mechanized art can act as a vampire only if we allow it to. Dramatic as it may seem, some cultural critics would say that society has symbolically reached the montage point in the film where “low culture” races to attack “high culture.” I believe that society as a whole has benefited because the various forms of art occasionally are bed fellows, collaborating across disciplines to create a truly meaningful experience for all people.