On the Way to "Nosferatu"

Author(s): Enno Patalas

Source: Film History, Vol. 14, No. 1, Film/Music (2002), pp. 25-31
Published by: Indiana University Press
Stable URL: https://www.jstor.org/stable/3815577
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 Film History, Volume 14, pp. 25-31, 2002. Copyright © John Libbey
ISSN: 0892-2160. Printed in Malaysia

On the way to No5ferrut

Enno Patalas

M urnau's Nosferatu (Prana, 1922) was never selves had been translated from the French) back
into French. The film is still shown in this form in
a 'lost film'. Unlike Der Gang in die Nacht
Goethe Institutes in Montreal, Brussels and Paris.
(Journey into the Night, Goron, 1920), Phan-
tom (Decla Bioscop, 1922), Die FinanzenThe descriptions of the film to be found in issue no.
228 (1979), of I'Avant-Scene/Cinema and in J.-L.
des GroBherzogs (The Finances of the Grand-Duke,
Union Film, 1923) and Der brennende Acker (Burning
Leutrat, Nosferatu (Paris: Gallimard, 1981) follow this
version. At the same time the graphic form of the
Earth, Goron, 1922), Nosferatu has always been with
intertitles
us, in various different forms. This is largely thanks to was standardised from one version to the
Henri Langlois and the Cin6math6que Frangaise, next, and there was a loss in image quality down the
generations.
who preserved a copy of the second French version,
dated 1926 or 1927. This version contained the fa- There is a story (I do not know whether it is true)
mous title which had so delighted Breton: 'Et quand
that Henri Langlois used to remove the intertitles from
il fut de I'autre cot6 du pont, les fantomes vinrent a of silent films. What is certain is that he was not
prints
sa rencontre,' which could be seen as an admittedly
very interested in preserving or restoring them. This
free but by no means inappropriate translation ofwas
thein marked contrast to Lotte Eisner, who was
original German text: 'Kaum hatte Hutter die Brucke
aware of the importance of titles, at least in German
Oberschritten, da ergriffen ihn die unheimlichen
films of the 1920s, and who inspired me, 20 years
Gesichte ...1 ago, to begin searching forthe titles of Dermuide Tod
It was a print from this version that reached the (Destiny, Decla-Bioscop, 1921) and also Nosferatu,
New York Museum of Modern Art in 1947. There, aswhich were thought lost. The evidence of the script
was the norm in Iris Barry's time, the foreign-lan-and title-list from Murnau's estate, which Lotte had
guage intertitles were translated into English. In thesecured for the Cin6math6que Frangaise, and which
process, the names of the characters (which in theare reproduced in facsimile in the appendix to the
French version had roughly approximated the Ger-German edition of her book on Murnau, suggested
man names) were changed to the names of the that such a search might be worthwhile. From them
characters in Bram Stoker's Dracula, which the film we discovered that in the known prints, of French
is of course based on. In this it followed the first provenance, a sixth of the intertitles were missing (16
American version of the film. Orlok thus became out of the original 97, not counting the 19 act divisions
Dracula, Hutter became Jonathan Harker, Knock and opening and closing credit titles), and that many
(who had been Knox in the French version) - Ren- of the remaining titles differed greatly from the origi-
field, Bulwer- Van Helsing ..., and Wisborg became nal text. We also discovered that writing in the film
Bremen. had originally had a far greater importance than the
This is the form in which the film returned toFrench version and its descendants had suggested.
Europe, first to London and the National Film Archive This was true not only of Nosferatu but also of
and thence to Germany, to a distribution company
which was, in the 1960s, performing a valuable role
in making 'Weimar cinema' available to a wider pub-Enno Patalas was director of the Munchner Stadt-
museum/Filmmuseum, where he was responsible
lic. This company translated the English titles back
for the restoration of many German cinema classics.
into German, retaining the altered names. When cop-
In 1990 he was awarded the Prix Jean Mitry of the
ies were needed for export into francophone coun- Giornate del Cinema Muto. Correspondence to Ain-
tries they translated the German titles (which hadmillerstrasse 7, 80801 Munchen, Germany.
Email to enno.patalas@munich.netsurf.de.
been translated from the English titles, which them-

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26 Enno Patalas
26 Enno Patalas~·~· ~ ------------------------------ _ · c~-ar~-~·-~-~-- --·-- -~s~s~-s~·-s~-es~--sa~8lsss~8IP-F- ^~I"`~~-~-~"`~V·P~~"~1~·lBli -- ··II~·PDII~S~;DPlawk 1W

the three episodes. The Golem titles bear the signa-

ture of the designer of the ghetto sets, Hans Poelzig.
In Nosferatu the action was linked to three
books: to the 'diary', a kind of chronicle of the plague,
whence the action initially emerges and into which it
finally returns; to the vampire book that Hutter finds
in the Carpathian inn, just as one might find a Bible
in a hotel room today, which shows him and his wife
their future; and, finally, to the ghost-ship's log-book.
rl 4 ~~~~~~UI~~~ 21I I0- JI
In these books the action never simply moves on.
Rather, the books edge what is seen and shown into
a shady half-light, from both the characters' and the
viewer's point of view. There are, in addition, letters,
a page from a newspaper and various official docu-
ments.
The well-known French version and those
based on it ascribed the 'diary' to Johann Carvall
or Cavallius, 'ancien magistrat et habile historian
sa ville natale". In Murnau's title-list, on the other
hand, the keeper of the diary is anonymous, witho
fame or title. His signature is three crosses ('th
properly painted graveyard crosses' are specified
the title-list), a voice from beyond the grave. This w
obviously too irrational for whoever put together
French version. The greatest works of the Germ
cinema of the early 1920s almost without except
make reference to 'author-less' literary genres, tra
tional or modern: to anonymous testimonies an
traditions, to folk tales, legends, books of mag
chronicles, crime novels and science fiction, but a
most never to the work of well-known writers. Fritz
Lang made no distinction between filming a story
from a newspaper serial such as Dr. Mabuse or a
Caligari (Decla-Bioscop, 1919), The saga Golem (Ufa,
like Die Nibelungen (Decla-Bioscop, 1922-
1920) and Fritz Lang's Der mode Tod and Dr. 1924), and when Murnau was shooting his Faust
Mabuse (Ufa, 1922). In the most important German (Ufa, 1926) he followed not Goethe but the medieval
films of the early '20s, intertitles did not only serve as folk epic. The anonymity of the story-teller, his voice
headings and to convey dialogue. The Caligari titles, from beyond the grave, is not the only point in Nos-
painted by Hermann Warm, are a continuation of the feratu signalling the disintegration of the bourgeois
sets, also designed by Warm, while, working the author and the bourgeois hero. The story-teller who
other way round, painted words ('You must become signs his work with three graveyard crosses matches
Caligari!') suddenly appear in the sets. In Der mode the vampirical Count, who finally disappears in a puff
Tod the graphic style of the intertitles (which I found of smoke, a creature somewhere between human
as flash titles in a print in the Moscow archive) are and animal, between life and death, a hermaphrodite
related to the place, time and background story of like the flesh-eating plant with which he is compared
in the film. (And Ellen, in the first dialogue title of the
Fig. 1 (top). Title showing translation of one page of the chronicle - the famous title -
film, talks of the flowers Hutter has picked for her as
from the second French version of Nosferatu.
though they were living beings: 'Why did you kill
Fig. 2 (bottom). The first page of the chronicle: 'Record of the Great Death in Wisborg them?' she asks. Again, it is certainly no coincidence
anno domini 1838 by + + +'. The title list says, 'There are three really painted that this title is among those deleted in the French
graveyard crosses under that'. version.)

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On the toNosferatu 27

It is therefore not a sign of inconsistency when

Murnau, having used 116 intertitles in seven different
forms in Nosferatu, then, inspired by Carl Mayer,
followed the example of Scherben (Shattered, Rex
Film, 1921) and Sylvester (New Year's Eve, Rex Film,
1923) and made Der letzte Mann (The Last Laugh,
Ufa, 1924) almost without titles, explaining that the
ideal film is one without any intertitles whatsoever.
The proliferation of non-literary, pre-literary, popular
and anonymous forms of speech and writing already
goes some way towards dissolving the link between
cinema and literature, the most sustained expression
of this effect being the title-less film which rests
entirely on the image.
The significance of the intertitles of the Ur-Nos-
feratu is evidenced by the title-list, but is illustrated
even more clearly in a print preserved in the
Staatliche Filmarchiv der DDR (the GDR State Film
Archive) which was made available to the Munchner
Filmmuseum in 1980 for our first attempt at a recon-
struction. Albin Grau, who was also responsible for
the sets and costumes, had done the lettering. They
are like shot set-ups within the film proper, and fade
in and out. Pages are turned. 51r 7 i li rcrl llrT
This print from the GDR Archive was no more
than a skeleton, but it did contain most of the titles z I,
and at least examples of almost all types of titles and
inserts occurring in the film, credit and dialogue titles,
the diary, the vampire book, the log book, letters, etc.
Only the titles indicating start and end of acts were
missing. This print enabled us, in the '80s, to make
new prints of the titles, or to letter them ourselves in
a faithful copy of the original, or to put together and
The intertitles were completely new and quite
then film the background elements with their text.
different.2 There are, however, long sections where
Also in 1980 Mary Meerson made available to
us another version of Nosferatu from this the re-edit has obviously
holdings of left the original shot se-
the Cinemath6que. It was again Lotte Eisner who had
quence untouched. This provided us with several
alerted the world to the existence of this version in an shots that we had previously known in either abbre-
viated versions or in poor condition, or indeed had
article for the January 1958 issue of Cahiers du
not known at all. These we could now add into the
Cinema entitled 'L'Enigme des deux Nosferatu'. It
reconstruction.
was about a version with the title Die zwolfte Stunde
(The Twelfth Hour), which a certain Dr. Waldemar Intertitles are not the only aspect of 1920s
Roger had assembled in 1930 with the intention of
cinema which was neglected, if not actually de-
releasing it with sound (not optical sound but disc spised, by the post-war generation of cinephiles:
sound, i.e. a combination of film and gramophone
record). This version contained a series of additions, Fig. 3 (top). The second page of the chronicle: 'Nosferatu. Doesn't this word sound like
the midnight call of the death bird. Beware of uttering it, or the pictures of life will turn
mostly designed to provide visual justification for the
to pale shadows, nightmares will rise up from the heart and feed on your blood.'
use of music. Many parts were changed around in
order to give the film a happy ending, for example. Fig. 4 (bottom). The first dialogue title: 'Why have you killed them ... the beautiful
Again and again sequences and single shots had flowers?!' Missing in the French version and its derivatives, like the MOMA prints, and
been shortened. often mistranslated as 'Why have you destroyed them ...'

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28 Enno Patalas
28Bb~6~C?;I Enno PatalasU"~~·saaa~~_·; ·I~[gsi%D~pq~%Q~gg~%~P aBsB ~ ~ 8~~ ~a~ie~3~prs~. v "'Al - .rsllY. .. rr

assumption not only because this was normal in

Germany at the time, but also because a vampire
does not walk around in broad daylight, as he does
in all the black-and-white prints of the film. A definite
indication that Nosferatu was intended to be coloured
was found in Act 5 of the film. In the shot where the
wind blows a candle out, in this exact place, there
was a splice, demonstrating that the sections before
and after had been printed separately, the first to be
coloured yellow or orange for candle-light and the
second blue or green, for night and moonlight. We
do not know, unfortunately, how much influence Mur-
nau exerted on the colouring of his films. I only
remember one note, in his handwriting, in the script
of SchloB Vogelod (Castle Vogeloed) saying, 'Leave
the dream scenes black-and-white'. (Strangely, the
l.

relevant page has in the meantime disappeared from

the script preserved in the Biblioth6que du Film.) He
obviously left the rest of the colouring to the labora-
tory staff making the prints.
The original intertitles also indicate that Nos-
feratu was very much conceived as a day-and-night
film. At the beginning of the film every change in the
time of day is announced by a title ('... at last the
Carpathian peaks lit up before him', 'Hurry, the sun
I? is setting!', 'As soon as the sun rose, the terrors of
/site j the night left Hutter'), followed by a twilight image -

L ;t -P
a mountain view, clouds or sea-scapes, always with-
out people. Later in the film the twilight images func-
E
-- iW C - YL rdnj tion alone, without introductory title, to mark the
change from day to night and vice versa.
In the mid-1980s Luciano Berriatua of the Fil-
moteca Espahola, an eminent Murnau scholar, found
colour is another. They came
another print toinknow
of Nosferatu the depths of andthe
cinema of this era inCinemath6que the black-and-white
vaults, a print which even Lotte Eisnerpr
which it was handed down to them. This was, of herself had obviously failed to find. It was a coloured
course, in a period when the passage from black- copy of the first (1922) French version of the film
and-white to colour was as controversial as the (about which Robert Desnos had written long before
change from silent to sound film had been twenty
Breton had noted the film).3 Parts of the film were
years earlier. missing, due to deliberate cuts by the distribution
The Cin6math6que print of the second French company as well as normal wear and tear on the
version of Nosferatu was black-and-white, as were all print, and the colours had altered considerably. The
the prints made from it, as well as those preserved blue of the night scenes had disappeared com-
in East Berlin, and also Die zwolfte Stunde. Nosferatu pletely, and Nosferatu was again walking in the sun-
must have been in colour at the time of its release in shine. Nevertheless, it was still possible to see which
1922: 'tinted' and perhaps also 'toned'. We make this sections had originally been coloured in which col-
our. We could also tell that the French distributor had,
Fig. 5 (top). The first page of the vampire book: 'Of vampires, monstrous ghosts, feats
as was normal at the time, received the coloured
of magic, and the seven deadly sins'.
positive print from Germany, producing only the
French titles in France. One could therefore assume
Fig. 6 (bottom). The first page of Hutter's letter to Ellen: 'Darling! Dearest! Do not
grieve because your beloved is far away.' that the French version was based on the same

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On the way to Nosferatu

colouring plan as the German version. This made it - U

obvious that night scenes had sometimes been col-
oured blue and green, even when a lamp was visible
as the light source, and one would therefore have in iransjlDanim unb in ben liifrn
expected yellow. In the scene at the Carpathian inn Ibts dnlmrl?tn Irrr iarnma unbr
in Act 1, blue exterior shots alternate with yellow ift u fin ipibnn anugitaero-
interiors, as was the convention at the time, but in the rdlrn. tlu f ut ubr in ltllarn
scenes in Hutter and Ellen's apartment in the final [; ;.i. ,l."tSi slim ®pfrrn riarn
act, when Nosferatu is sucking Ellen's blood, blue
exteriors alternate with green interiors. Green, alter-
QIMi ': ra g. rit bam Irt.i unr
nating with blue, underlines the eeriness of these
tMir so. na,bntrn iuntunft tuin
scenes, which suggests that when Hitchcock was
.t ":~'anzrllni mli.' fia'
deciding on the colouring for The Lodger he remem-
bered the music-hall melodramas he saw as a child, fimntlic prteir tiacnl rtiffr
where the villain was always bathed in green light. Grfpctlrt.
Twilight images in Nosferatu were originally coloured mo -.,

pink as a rule, with only one shot, the flesh-eating

plant, the venus fly-trap, coloured orange.
In 1994 the Cineteca del Comune di Bologna
undertook, in the context of the European Commu-
nity's Lumiere Project, to continue the reconstruction
which had begun in Munich. First a black-and-white
negative was printed from the Paris colour print onto
panchromatic stock. All missing, incomplete or dam-
aged shots were replaced from the two other nitrate
prints in the Cin6math6que Frangaise, a nitrate dupe
negative of the second French version and a nitrate
positive print of Die zwolfte Stunde.
A colour positive print was struck from this
black-and-white negative using the method devel-
oped by Noel Desmet at the Cin6math6que Royale
de Belgique: 'A neutral black-and-white image is first
struck from a black-and-white negative and printed
buf
onto a positive colour emulsion ...; this image is then
pra
exposed, without negative, to the desired colour by
nim
flashing coloured light on to it. The result is a black-
ded
and-white image on a tinted background.'4 In addi-
ear
tion to the 522 shots of the well-known version, not
pan
including titles and inserts, a further thirty gradually
pan
found their way into the reconstruction. Most are
elem
single shots or, more rarely, two or three within a
part
sequence. Only in one place is there a short se-
quence of five new shots together (in a scene with Fig.
Harding and Ruth playing croquet). Other shots are Black
now longer and fade in and out where there had mass

previously been 'hard' cuts, or the image quality has a my

plague.'
been improved. An extra 400 metres has been added
to the 1,562 metres of the well-known version, so that
Fig. 8 (bottom). Page of the log book:
no more shots should now be missing from the
Second day: 13 July. One sailor sick with fever. Bearing, SSW, wind direction: NE.
original 1,967 metres length. Third day: 14 July. Mate talks foolishly. An unknown passenger being under the deck.
Even more of a b6te noire to old-school film- Bearing, SE, wind direction: NE, wind force 3.6.

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30 Enno Patalas
W_W%w5v~w~_.

Erdmann was a conductor, composer and music

critic and from 1926 edited the journal Film-Ton:
Kunst. In 1927, together with Giuseppe Becce, he
published the Handbuch der Film-Musik. In 1932 he
wrote the music for Fritz Lang's Testament des Dr.
Mabuse (Nero-Film).
Erdmann and Becce have reported that, be-
fore completing his films, Murnau used to discuss the
music with the composers. Erdmann arranged his
Nosferatu score as a suite which he called Fantas-
tisch-Romantische Suite, which was published in two
arrangements, one for full orchestra and one for palm
court orchestra. The score contains ten titles: Idyllic,
-7;
Lyrical, Ghostly, Stormy, Destroyed, Strange, Gro-
tesque, Unchained, Distraught. None of the ten
.
~~~~~~~
:........
pieces, wrote Erdmann in an open letter to an orches-
.
lqm Ap- mp -
tra director who had attacked the composition as 'too
highbrow', was 'planned in such a way that it must
t

always be used in the form provided. It is of course

possible to do so, but by no means obligatory'. The
suite was used in the cinemas of Berlin 'with varying
I
degrees of success. Sometimes very good effects
(
were produced, but in other cases the results were
I
less satisfactory'.5
1,
I finally heard this music, arranged by the Berlin
,i

I< musicologist Berndt Heller and played by the DEFA

l,

Symphony Orchestra (now called the Babelsberg

Film Orchestra), during a presentation of the film in
a church in Neu-Ruppin in the Brandenburg
is Marches. What struck both Heller and myself, com-

_.,.,
. - - . . -.- . .
E pletely independently, was how the musical and col-
_ _wm ' ! - . aa _ l M_ _ ouring effects reinforced each other. As the title of his
suite indicates, Erdmann's music for Nosferatu ac-
interest in this aspect of cinema history, a desire to
centuated the fairy tale aspect of the film. It is not a
horror film score.
look beyond auteur theory, to persuade film archives
and cinemath6ques to start concerning themselves There have also been some successful live
with the music. There are, however, indications accompaniments
that by young musicians: German
directors such as Lang and Murnau were no moreanist Joachim Barenz and percussionist Christi
indifferent to the musical accompaniment than Roderburg
they appropriately based their interpretat
were to the colour or indeed to any part of the
on Wagner's The Flying Dutchman, and America
technical aspect of their films. organist Dennis James intelligently used a Fran
We discover from the title-list handed downPolenc
by organ concerto. Unfortunately, none of the
Lotte Eisner that the credits of the Ur-Nosferatuhas been recorded or used for television, VHS or
give
Hans Erdmann as the composer of the original music
DVD. There is a sound recording of the Erdman
for the film, just as the Nibelungen and Metropolis
suite, but not of Heller's 'reconstruction' of the fi
(Ufa, 1926) title-lists name Gottfried Huppertz.
score based on the suite.
Nosferatu on VHS and DVD is a particularly sad
Fig. 9 (top). Title card (the last page of the chronicle) from the second French version,
affair. The German copyright owners have sold the
tying the action to a passage from night time to day time.
1994 restoration of the film to German tv (who added
a particularly
Fig. 10 (bottom). Main title of the film: 'Nosferatu. A Symphony of Horror', showing the inappropriate Art Zoyd score), but ha-
original illustrated frame. ven't yet issued it on VHS or DVD. The British Film

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On the way to Nosferatu 31

Institute was the first to announce a DVD release, of the 'Munich version' as we had it in 1981, so at least
Kevin Brownlow's tv adaptation of this version, re- the croquet game is there and some more shots
placing the German captions by an English 'equiva- missing in all of the (David Shepard's) US version(s).
lent'. Ron Benson, of Eureka Video, when I asked him
What Image Entertainment released in 2001 about 'the last surviving print found in Germany',
(ID0277DSDVD) was mainly a re-issue of David admitted that this was a lie, and that I had to under-
Shepard's 1998 version (ID4098DSDVD), identical stand, 'that's marketing'.
with his 1991 laserdisc version. All of them are based Since 1999 or 2000 there has been a French
on what MoMA in 1947 obtained from the DVD from Collection Films du Siecle, Films Sans
Cin6math6que Frangaise (the shortened second
Frontieres, based on the 1994 Munich/Bologna res-
toration.
French version, 1,562 metres instead of the This double-disc set contains two versions
original
1,967), which has been around on 16mm in the
of the film: a black-and-white transfer at 24 fps,
United States for a couple of decades. Shephard's
lasting 60 minutes, with French titles, and a tinted
1991 version kept the MoMA titles (with 'Harker'
90-minute version transferred at 18 fps, with German
instead of 'Hutter', 'Dracula' for 'Orlok' etc.) The
titles 1998
(and optional English or French subtitles). The
90-minute
version had new English intertitles, the text version is based on a worn-out, dirty print
for which
of edition
followed the faulty translation in the English the 1994of
restoration, reproduced in a way that
Lotte Eisner's Murnau book (Ellen sayingbrings
'Why have
out none of its qualities. A greyish picture in a
colourful
you destroyed them, the beautiful flowers?' sauce.
instead
The
of 'Why have you killed them ...'). Following the recent BFI version is much better, with
American custom the hero has to have a first name, and correct colours (at least in the first
sharp pictures
which he can be called by, so Ellen calls
half).him
But I agree with Brad Stevens in Sight and
Sound
'Thomas' (Hutter in the original version is just that 'Unfortunately (at least from the purist
'Hut-
perspective),
ter'). The graphic style of the new captions is inspiredboth the BFI and Eureka have replaced
by different models, so the dialogue titles have intertitles
the German a with English-language equiva-
frame copied from the French version (!) lents, and although an attempt has been made to
of Genuine
(Decla-Bioscop, 1920). The colours have design
nothing
theseintitles in the style of the originals, it
common with those of the original, and they look
remains just that - an attempt'. A more successful
one,
more like toning than like tinting, much too certainly,
bright and in the case of the BFI. The James
no black at all, so the 'blue for night' misses the is certainly the best one that can be
Bernard score
nocturnal effect completely. heard on any Nosferatu DVD, but it is still not the Hans
Eureka Video in London now offers two discs Erdmann original.
in one cassette (EKA40025), disc 1 Sepia and disc 2 The German copyright owners, I understand,
'Original Black and White', so both of them unfaithful.are now planning a proper DVD version, based on
The trailer claims the material was based on 'the last the 1994 restoration of the film, with the original
surviving print found in Germany.' In reality they used captions and the Erdmann score.

Notes

1. Andr6 Breton: Les vases communicantes4.(Paris:

Noel Desmet: 'Restaurations des films teint6s et
Gallimard, 1973), p.50. vir6s', Bulletin Fiaf no. 44 (1994), pp. 32-34.
2. In Lotte H. Eisner: F.W. Murau (Paris: Le 5.Terrain
F.W.Murnau: Nosferatu. Eine Publikation des Kultur-
Vague, 1964), p.233, the first version of the censor-
referats der Landeshauptstadt Munchen und des
ship card B 27446 is reproduced. Filmmuseums. Editor: Fritz Gbttler, MOnchen: Uni-
versitatsdruckerei 1987.
3. 6 April 1923, 31 January 1925, 5 March 1927. See
Robert Desnos: Les rayons et les ombres. Cinema
(Paris: Gallimard 1992), pp .23ff, 53f, 86ff.

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