Horror

Nosferatu

As noted critic Pauline Kael observed, "... this first important film of the vampire genre has more spectral atmosphere, more ingenuity, and more imaginative ghoulish ghastliness than any of its successors." Some really good vampire movies have been made since Kael wrote those words, but German director F.W. Murnau's 1922 version remains a definitive adaptation of Bram Stoker's Dracula. Created when German silent films were at the forefront of visual technique and experimentation, Murnau's classic is remarkable for its creation of mood and setting, and for the unforgettably creepy performance of Max Schreck as Count Orlok, a.k.a. the blood-sucking predator Nosferatu. With his rodent-like features and long, bony-fingered hands, Schreck's vampire is an icon of screen horror, bringing pestilence and death to the town of Bremen in 1838. (These changes of story detail were made necessary when Murnau could not secure a copyright agreement with Stoker's estate.) Using negative film, double-exposures, and a variety of other in-camera special effects, Murnau created a vampire classic that still holds a powerful influence on the horror genre. (Werner Herzog's 1978 film Nosferatu the Vampyre is both a remake and a tribute, and Francis Coppola adopted many of Murnau's visual techniques for Bram Stoker's Dracula.) Seen today, Murnau's film is more of a fascinating curiosity, but its frightening images remain effectively eerie. --Jeff Shannon

The greatest horror film of all! A long time ago in middle Europe, a decrepit, forbidding castle stood. Casting an ominous shadow over the townspeople who dare not look upon it, the unholy dwelling is home to one Count Orlok (Max Schreck), an undead night creature with a taste for human blood. Showcasing the extremely eerie Schreck, "Nosferatu" is the first screen adaptation of Bram Stoker's classic novel "Dracula," stylistically directed by the legendary F.W. Murnau. Now available in this gorgeous newly remastered and rescored by The Silent Orchestra in 5.1 audio.

German Horror Classics (Nosferatu (1922) / The Cabinet of Dr. Caligari / Waxworks / The Golem)

The Phantom of the Opera (1929 re-release)

Chaney is Erik, the horribly disfigured Phantom who leads a menacing existence in the catacombs and dungeons beneath the Paris Opera. When Erik falls in love with a beautiful prima donna, he kidnaps her and holds her hostage in his lair.

Masterworks Of The German Horror Cinema (Nosferatu / The Cabinet of Dr. Caligari / The Golem)

Three seminal works in one package make this an ideal choice for film buffs and horror fans. The Masterworks of the German Horror Cinema contains three influential masterpieces from the early 1920s: The Golem, The Cabinet of Dr. Caligari, and Nosferatu. All three films are excellent, and their influence on later works, most notably Frankenstein, is clear. Nosferatu, directly plagiarized from Bram Stoker's Dracula, is by far the scariest of the three. Max Schreck's bizarre, creepy performance as the vampire is still surprisingly effective. The Golem is a retelling of the Jewish legend of a rabbi who dabbles in the black arts to protect the inhabitants of the ghetto. He makes a man of clay and brings him to life, with dire results. Though all three have gorgeous images, The Cabinet of Dr. Caligari, the tale of a mysterious mesmerist, is the most interesting as a prime example of German expressionism. The swooping, distorted sets are brilliantly nightmarish. The three silent films are best enjoyed with the volume turned all the way down. While The Golem is presented in silence, by far the most satisfying option, the music soundtrack tacked onto Caligari is unnecessary at best, and the score Nosferatu has been saddled with is absolutely dunderheaded. Bonus material includes stills and poster art from all three films and a clip from the lost film Genuine: A Tale of a Vampire. --Ali Davis

Clive Barker's Salome & The Forbidden

In 1970's Liverpool, Clive Barker and a small group of friends from college made two short films, unseen by the general public until now. "Salome" (1973) and "The Forbidden" (1978) feature early footage of Barker, who also did most of the special effects, and Doug Bradley, who went on to fame as Pinhead in the "Hellraiser" films. Also included are interviews with Barker, Bradley and other key players. Contains graphic violence and nudity. Silent with music score.

Nosferatu

As noted critic Pauline Kael observed, "... this first important film of the vampire genre has more spectral atmosphere, more ingenuity, and more imaginative ghoulish ghastliness than any of its successors." Some really good vampire movies have been made since Kael wrote those words, but German director F.W. Murnau's 1922 version remains a definitive adaptation of Bram Stoker's Dracula. Created when German silent films were at the forefront of visual technique and experimentation, Murnau's classic is remarkable for its creation of mood and setting, and for the unforgettably creepy performance of Max Schreck as Count Orlok, a.k.a. the blood-sucking predator Nosferatu. With his rodent-like features and long, bony-fingered hands, Schreck's vampire is an icon of screen horror, bringing pestilence and death to the town of Bremen in 1838. (These changes of story detail were made necessary when Murnau could not secure a copyright agreement with Stoker's estate.) Using negative film, double-exposures, and a variety of other in-camera special effects, Murnau created a vampire classic that still holds a powerful influence on the horror genre. (Werner Herzog's 1978 film Nosferatu the Vampyre is both a remake and a tribute, and Francis Coppola adopted many of Murnau's visual techniques for Bram Stoker's Dracula.) Seen today, Murnau's film is more of a fascinating curiosity, but its frightening images remain effectively eerie. --Jeff Shannon

F.W. Murnau's (Sunrise) chilling adaptation of Bram Stoker's "Dracula" follows the stiff, ghastly Count Orlak as he sails into Wisborg port to wreak bloody havoc.

The Cat and the Canary

German horror stylist Paul Leni (Variety) brings his expressionist flourishes to this compendium of haunted clichés, creating one of the most stylish horror movie spoofs ever, a delightful mix of the gothic and the goofy. A greedy bunch of gargoyle-looking relatives (and a pair of young innocents) gather for the reading of a rich uncle's will, which demands that they spend the night in the creepy old mansion. Leni puts them through a fun house of frights: As if secret panels, clutching hands, and a stopped clock that mysteriously comes to life weren't enough, an escaped lunatic from a nearby asylum who rends his victims with catlike claws may have infiltrated the house. Silent movie sweetheart Laura La Plante is the canary of the title, a lovely would-be heiress who becomes the target of plotting relatives, but it's the rogues gallery of suspects that adds the color and comic relief. Leni kicks the film off with a delirious scene of an infirm old man surrounded by gigantic bottles of medicine and menaced by a snarling, spitting. gargantuan cat. The rest of the film is played in lower key, for laughs as much as chills, but it never loses its moody ambiance, highlighted by elegant camerawork and looming shadows. This classic has been remade three times, most famously by Bob Hope and Paulette Goddard in 1939, but never as well. The hilarious Harold Lloyd short Haunted Spooks has been included as a DVD bonus. --Sean Axmaker

The Cat & the Canary, a precursor to the horror films of the 1930s, earned its reputation frightening audiences of the silent era. Utilizing great technical craftsmanship, the film weaves a stark vision of terror that is just as thrilling today.

Dr. Jekyll and Mr. Hyde

It took John Barrymore to bring class to the American horror film, at least in the eyes of the industry. Dignified and virtuous as Dr. Henry Jekyll in this 1920 silent, Barrymore transforms into id incarnate as the lascivious Mr. Hyde. With almost no makeup beyond his gnarled, knobby fingers and greasy hair, Barrymore relies almost solely on a bug-eyed grimace, a spidery body language, and pure theatrical flourish. He tends to be hammy as the leering beast of a thug but brings a tortured struggle to the repressed doctor, horrified at the demon he's unleashed, guilty that he enjoys Hyde's unrestrained life of drinking and whoring, and terrified that he can no longer control the transformations. Martha Mansfield costars as his pure and innocent sweetheart, and Nita Naldi (the vamp of Blood and Sand) has a small but memorable role as the world-weary dance hall darling who first "wakens" Jekyll's "baser nature." --Sean Axmaker

The great John Barrymore takes on the title characters in Robert Louis Stevenson's classic tale of a tormented doctor who ventures into the unknown only to find his dark side. Directed by John S. Robertson and co-starring Nita Naldi, "Dr. Jekyll and Mr. Hyde" is one of the all-time classics of silent cinema.