The Mixed Bag of Vampyr

 The Mixed Bag of Vampyr (1932)

By Logan Tyler Smith

Vampires did not have a linear path to being a cultural icon. Vampires have been interpreted in a variety of forms, most notably from the Dracula novel which has been interpreted from FW Murnau (Nosferatu) all the way to Francis Ford Coppola (Bram Stoker’s Dracula) and then beyond. However, one of the more interesting films to me is one that does not really work to the level that some have said the latter two examples have worked. The film I am talking about (the one that doesn’t fully work) is a film by Danish director Carl Theodor Dreyer; that film is 1932’s Vampyr. Vampyr is a mixed bag for many reasons, notably its atmosphere, acting, and lack of theme. 

One thing Vampyr definitely succeeds at is creating a creepy, unsettling atmosphere. Everything about the film from the death-related imagery (especially the shots of coffins and shadows) to the choice of music and shot length succeed at making the film conventionally unnerving. The genuinely scary images and vampiric events of the story help sell this mood, but it’s the score and uncomfortably long shots that really create such an effect. Obviously, if a film features vampires in it, the film is expected to be scary (and this film at the very least succeeds at creeping you out) but this film definitely delivers considering its historical context. Considering the technical limitations at the time (something mostly betrayed by the aspect ratio and set design, here) this film should not be as unsettling as it is, and yet it is. The uncomfortably amount of time that it seems like the shots take really succeed at dragging out the suspense in a way that does not feel too forced. The music score is especially a thing of beauty; it’s coupling with the shot length is truly masterful in the best of ways. Truly, the freaky atmosphere is exactly what it wants to be. 

However, an unfortunate part of the film is its unconvincing acting. While the craft of the film goes to great lengths to establish suspense, the film’s actors add very little to it. Beyond looking vaguely scared and seemingly powering through the lines, it doesn’t seem like the acting is inherently phenomenal here. The best showcases of this are the interactions of the main character with the family of a man he just encountered at his inn who dies moments later. The family and the main character are given no reason to connect beyond the aforementioned family man simply writing a book on vampires, and a vampire is infecting/haunting members of the family. You could absolutely argue this is because of technical limitations of the time (like maybe not having enough time/resources to shoot another expository scene) but the acting does not do this inconsistency any favors. It is also possible that the actors did not quite understand the suspenseful material and this could be why they perhaps phoned it in on the day. Whether it’s a personal opinion of mine or not, the acting did not seem convincing. 

The film also suffers from a lack of overt message. Granted, not all films have to have something lofty to say about the world or the characters, but I truly think an actual theme would have really benefited the movie. The horror genre has been a good way to explore uncomfortable or taboo subjects that mainstream cinema does not seem to want to explore, and this film seems like the perfect opportunity to do so. This is especially true because, as many more qualified horror aficionados have pointed out, vampires can be a truly great metaphor or allegory for one thing or another. However, beyond some vague evil to vanquish, this vampire does not seem to be meant to say anything. One could argue that the book on vampires the characters look at throughout the movie do state some message, but beyond the religious symbolism I do not find these claims substantial. Symbolism is not always a theme, as this film regrettably proves; they might signal a theme, but in this case it’s not so. Religious imagery does not equate a worthwhile message, which this film sadly lacks. 

All of these moments add up to what I would personally call a mixed bag. The atmosphere is truly phenomenal, but the acting does not add to this and there is no overt/subtle theme that could elevate the material. This film was, at the time, considered the low point of Carl Dreyer’s career. I do not yet know if this is true, but I can say I think this film is a mixed bag.