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Nosferatu, a 1922 German silent film, is considered a classic in its genre. Directed by F.W. Murnau, the film is an adaptation of Bram Stoker's 1897 novel, Dracula. While the film itself has no dialogue, it was not filmed in silence. The original score, composed by Hans Erdmann, was performed by an orchestra at the film's Berlin premiere. However, most of the score has been lost, and the film has been screened with various other scores and restorations over the years, resulting in a unique experience with each viewing.
| Characteristics | Values |
|---|---|
| Film Type | Silent film |
| Original Score Composer | Hans Erdmann |
| Original Score Performance | Orchestra |
| Original Score Availability | Mostly lost |
| Original Score Reconstruction | Yes |
| Reconstruction Artist | Gillian Anderson and James Kessler |
| Reconstruction Release | 1995 |
| Reconstruction Label | BMG Classics |
| Later Re-edited Version | Die zwölfte Stunde – Eine Nacht des Grauens (The Twelfth Hour: A Night of Horror) |
| Later Version Release | 16 May 1930 |
| Later Version Release Location | Vienna, Austria |
| Later Version Accompaniment | Sound-on-disc |
| Later Version Score Composer | Georg Fiebiger |
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What You'll Learn
Nosferatu was a silent film
Nosferatu, a classic horror film, was indeed a silent film. The original film, a German production, premiered in Berlin on March 4, 1922, with a wider release on March 15, 1922. Directed by F.W. Murnau, it is considered a landmark in vampire cinema and a seminal work in the horror genre.
Despite being a silent film, Nosferatu did feature a musical score composed by Hans Erdmann, which was performed live by an orchestra during the film's premiere. Unfortunately, most of the original score has been lost to time, with only fragments surviving. This has led to various reconstructions and reinterpretations of the score by different composers and musicians over the years, each offering a unique auditory experience to accompany the film.
The lack of sound in the film itself, however, was a deliberate choice by Murnau. The director was known for his expressive use of visuals and natural settings, distilling pure expressionism on screen. The absence of sound added to the haunting atmosphere of the film, relying solely on the power of images to convey terror and emotion. This approach to filmmaking was quite common in the early days of cinema, before the advent of "talkies" or sound films.
While the film may be silent, the filming process was not devoid of sound. Set designer Robert Herlth recalled that the set of Nosferatu was often filled with laughter, even during the filming of a horror scene. Murnau himself was described as having a deep, magnetic voice and a soft-spoken manner, which created a pleasant atmosphere on set. Additionally, the production team purchased 50 rats to fill the hold of a ship in one scene, creating an unpleasant soundscape of gnawing and scratching.
In conclusion, Nosferatu's status as a silent film does not diminish its impact or importance in the history of cinema. It showcases the power of visual storytelling and the ability to convey complex emotions and moods without relying on dialogue or sound effects. The film's influence can still be felt today, and it stands as a testament to the enduring appeal of silent cinema.
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The original score was composed by Hans Erdmann
The original score for Nosferatu was composed by Hans Erdmann and performed by an orchestra at the film's Berlin premiere in 1922. Although the film itself was silent, it was not without sound during filming. Set designer Robert Herlth recalled that it was common to hear laughter on set.
Despite Erdmann's original score, there is no one defined sound for Nosferatu. The film has had various restorations and versions, each with its own specially recorded score. The first restoration took place in 1965, and the most recent one was completed in 2005/2006. Each restoration features a different soundtrack, creating a unique experience for viewers.
Most of the original score by Erdmann has been lost, and only a partial adapted suite remains. Throughout the history of Nosferatu screenings, many composers and musicians have written or improvised their own soundtracks to accompany the film. For example, James Bernard, known for his work on Hammer horror films in the 1950s and 1960s, composed a score for a reissue, which was released in 1997.
In 1995, orchestra director Gillian Anderson reconstructed what the 1922 premiere of Nosferatu may have sounded like. She used three sources: the Fantastisch-romantische Suite, a work by Erdmann from 1926 that included Nosferatu compositions; chronicles of the premiere; and a manual on music in cinema written by the composer. Anderson's reconstruction was released by BMG Classics, with missing sequences composed anew to match Erdmann's style.
Another notable reconstruction is by German composer Berndt Heller, which includes additions of unrelated classical works. This version was featured in the most recent restoration of Nosferatu and was released on DVD and Blu-ray worldwide.
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The score has been lost and recreated many times
The original score for Nosferatu was composed by Hans Erdmann and performed by an orchestra at the film's Berlin premiere in 1922. However, most of the score has been lost over time, with only fragments remaining. This has led to a rich history of reconstructions and reinterpretations of the film's score, reflecting its enduring legacy and impact.
In 1930, an unauthorized and re-edited version of the film, titled "Die zwölfte Stunde – Eine Nacht des Grauens" (The Twelfth Hour: A Night of Horror), was released in Vienna with sound-on-disc accompaniment and a recomposition of the original score by German composer Georg Fiebiger. This marked one of the earliest attempts to recreate the soundscape of Nosferatu.
Throughout the years, various composers and musicians have created their own interpretations of the score for Nosferatu screenings. James Bernard, known for his work on Hammer horror films in the 1950s and 1960s, composed a score for a reissue of the film, released in 1997 by Silva Screen Records. This contributed to the diverse sonic landscape associated with the film.
In 1995, orchestra director Gillian B. Anderson and composer James Kessler reconstructed the score based on three sources: Erdmann's "Fantastisch-romantische Suite" from 1926, which included Nosferatu compositions; chronicles of the premiere; and a manual on music in cinema written by the composer. Their version, released by BMG Classics, aimed to match Erdmann's style while composing missing sequences anew.
Another notable reconstruction was by German composer Berndt Heller, which included additions of unrelated classical works. This version was featured in the 2005/2006 restoration of the film, reflecting the ongoing efforts to restore and reinterpret the original score.
The lack of a standardised score for Nosferatu has resulted in a unique viewing experience, as different screenings and releases may feature distinct musical accompaniments. This has created a dynamic relationship between the film and its music, allowing for varied interpretations and experiences for audiences worldwide.
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The film was shot with a metronome, creating a soundscape
The original Nosferatu is a silent film, but it was shot with a metronome, creating a soundscape. The metronome is a device used to measure the tempo of musical compositions. Although the film is silent, it had a soundscape that was lost. However, it can still be heard by paying attention to the details of the movie, and by reading the diaries of people with ties to the film, the newspaper chronicles of the premiere, and some of the books dedicated to the director F.W. Murnau's work.
The film's premiere in 1922 in its native country of Germany featured a live orchestra, conducted by Hans Erdmann, that played along with the film. In 1995, orchestra director Gillian B. Anderson reconstructed what the premiere must have sounded like. To do so, she used three sources: the Fantastisch-romantische Suite, a work that Erdmann composed in 1926 and performed in part with Nosferatu compositions; the chronicles of the premiere; and a manual on music in cinema written by the composer. Anderson believes that to complete the footage, pieces were repeated and chosen according to the mood that Murnau intended to provoke in each sequence.
The original score of the film, from what remains of it, is very understated and quiet, really just background noise. Other scores have been louder and more in-your-face with a variety of instruments. This mix of scores makes for a very unique film since often, people will have seen it either with different scores or with a mix of scores, and there really is not one defined sound for the film. Each score creates a different experience for different people.
Despite the fact that they were shooting a horror story, it was quite common to hear people laughing on the set. Robert Herlth, a set designer for Murnau’s early productions, recounted in a memoir that Murnau "didn't sound angry even when he was very angry." Herlth also explained that Murnau recited poems with a deep, magnetic voice and that at work, he gave all his instructions “in a very soft voice.” On the set of Nosferatu, there were also less pleasant sounds, like the rubbing and gnawing of the 50 rats that the production team bought to fill the hold of the ship in which the vampire arrives in the city.
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There is no single, specific sound for the film
The original 1922 version of Nosferatu was a silent film. However, it was not a silent film in the sense of being absolutely devoid of sound. Firstly, there was an original score composed by Hans Erdmann and performed by an orchestra at the film's Berlin premiere. Unfortunately, most of this score has been lost, and only a partial adapted suite remains.
Throughout the history of Nosferatu screenings, many composers and musicians have written or improvised their own soundtracks to accompany the film. For instance, James Bernard, a composer of horror film soundtracks in the 1950s and 1960s, wrote a score for a reissue. In 1995, orchestra director Gillian Anderson reconstructed what the 1922 premiere's soundscape might have been like, using three sources: the Fantastisch-romantische Suite, a work that Erdmann composed in 1926 and partially performed with Nosferatu compositions; chronicles of the premiere; and a manual on music in cinema written by the composer.
In addition to these various scores, there were also sounds on set during filming. Robert Herlth, a set designer for Murnau's early productions, recalled in a memoir that it was common to hear laughter on the set of Nosferatu, even though they were shooting a horror story. There were also less pleasant sounds, like the rubbing and gnawing of the 50 rats that the production team bought to fill the hold of the ship in one of the film's scenes.
Therefore, while there was no single, specific sound for the film, there was definitely sound involved in the making and viewing of Nosferatu. The various scores and soundtracks that have accompanied the film throughout its history, as well as the sounds on set during filming, all contribute to the rich sound history of this classic silent film.
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Frequently asked questions
No, the original Nosferatu was a silent film. However, it did have an original score by Hans Erdmann, which was performed by an orchestra at the film's Berlin premiere.
Most of the original score has been lost, but it is described as understated and quiet, acting as background noise. However, it is also said to have been crucial in setting the mood for the audience.
Yes, there have been several restorations and re-releases of Nosferatu that include sound. The first was an unauthorized and re-edited version called "Die zwölfte Stunde – Eine Nacht des Grauens" ("The Twelfth Hour: A Night of Horror"), released in 1930 with sound-on-disc accompaniment and a recomposition of the original score. There have also been various official restorations since 1981, with specially recorded scores, and a 2024 remake by Robert Eggers featuring an award-winning score by Robin Carolan.
