• Digging Up Max Shreck, the Screen's Original Dracula

    Some actors who have had success playing Dracula, such as Bela Lugosi and Christopher Lee, have gone through periods where they must have wondered if they'd ever get the chance to play anything else. Max Shreck, who starred in the first (unauthorized) film adaptation of the Bram Stoker novel, F. W. Murnau's gloriously contaminated 1922 silent horror poem Nosferatu, shook off the role easily in life, but posterity has boiled his career down to this one role. Shreck, who worked in the German theater and was part of Max Reinhardt's company in Berlin before making his film debut 1920 and died of a heart attack in 1936, when he was only 56 years old. Because he left behind no other film work as important as Nosferatu--his follow-up collaboration with Murnau, a comedy called Die Finanzen des Grossherzogs, was a bomb--and because he appeared in Nosferatu in a grotesque, rodent-like make-up that rendered his features unrecogniable, the passage of time has given Shreck the reputation of a man of mystery. The 2000 film Shadow of the Vampire, starring John Malkovich as Murnau, was a darkly comic fantasy in which it was revealed that "Shreck" was an actual vampire (played by Willem Dafoe) that the director had brought in to lend his authenticity to the role. It was rooted in a film-scholar in-joke that went back decades.

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  • New Grindhouse Classics: "Mulberry Street"

    The holy grail of a certain kind of movie geek is the low-budget genre picture--crime, sci-fi, or maybe, especially, horror--made by no-name filmmakers who, forced to compensate for their lack of resources with whatever they can come up with in terms of ingenuity and febrile, crackpot ideas, achieves what Manny Farber called "termite art," a strange and living vision that charges down alleys that Jerry Bruckheimer wouldn't venture into if there were strippers in there. Mulberry Street, which played theaters for an instant last year tucked in alongside seven other scare pictures as part of the 2007 "After Dark Horrorfest" and which recently came out on DVD, is a rare example of a movie that gets close enough to achieving grail status for viewers to catch scent of the wine. It's an apocalyptic horror movie that suggestively touches on post-9/11 anxieties without resorting to the kind of explicit speechifying that one encounters in the films of such specialists in ambitious schlock as Larry Cohen. It's also a movie that solves the problem of how to capture the edgy, grungy vibe of the classic New York movies from the seventies and make it seem relevant to the city we know today.

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