Image and Mood in Vampyr
Aug 6th, 2008 | By Rick | Category: Analysis and Comment, Carl Th. DreyerIn 1932’s Vampyr, Carl Th. Dreyer creates a mood of dread and vague dislocation in a variety of ways, from vaguely disquieting images to direction and editing that does not support our notions of continuity. The opening sequence, which follows Allan Grey (Baron Nicholas de Gunzberg as Julian West) as he arrives in the village of Courtempierre, illustrates.
Julian West
In the opening shot, we see Grey ascending a slope toward the camera. Behind him is what looks like a river; beside him is some sort of net attached to a post. Over his shoulder, doubling the larger net, is what looks like a butterfly net. Immediately we are disoriented: there is no establishing shot, and we have no idea whether he’s just gotten out of a boat or he’s been hiking along the river we can see behind him. We’ve just been told — via an intertitle — that Grey had “immersed himself in the study of devil worship and vampires.” What does a butterfly net have to do with studying the occult? Does he trap spirits as they flutter by?
Angel or …
Cut to a backlit shape, revealed to be the sign for a hotel. At first, the image seems benign, but as the camera tilts down, we begin to notice that it doesn’t quite cohere. Although it has angels’ wings, its “hands” are not human. One is filamentous, willowy, leafy; the other is round and wreath-like. Overall, the image has a disquieting ambiguity: the wings and skirt signal the heavenly; the hands have an earthy, almost pagan feel.
Death rings the bell
As Grey approaches the hotel, the successive shots are associated with each other, but not linked to one another via the conventions of continuity editing. This helps establish the dream-like quality of the film: although there is a through-story — Grey is approaching the hotel, we presume to spend the night — it is told via a series of images that are only loosely connected. As Grey tries to check in to the hotel, we get the sense that it’s closed up tight: a light is turned off as he approaches. The caretaker pops out of a hatch on the roof, motioning him to come around to the other side. Are they barricaded against something that walks by night?
Rollin' on the River
Shots of Grey being led to his room are intercut with images of a workman, a scythe over his shoulder, presumably returning home from his labor in the fields. He approaches the river, where we can now see a dock, and rings a bell for the boatman. Meanwhile, Grey enters his room, lights a lamp, then looks out the window, where he can see the man sitting in the boat, heading for the other side. Of course we’re meant to think of Death personified; but far from coming after Grey, he’s leaving before night, catching a ride on a boat back across the river (is it the Styx?). The unmistakable — if subliminal — implication is that in Courtempierre, even Death itself won’t hang around at night.
Here’s the complete opening sequence:
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The Criterion Collection has a new, fully restored version of Vampyr that is fabulous.
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A remarkable opening. the score is kind of eerie, but the scene would work to the exact same effect without it. The age of the film helps tremendously as well. Good stuff.
I thought of doing a post like this on the scene with all the dancing shadows. Maybe soon if I ever get time.
Thanks, Philip,
I almost did an analysis of that scene as well as part of my Art of the Tracking Shot series. By all means, go for it … I’d love to hear what you have to say!
Thanks for this study. It’s pretty remarkable to see films like this from decades ago. There’s more meaning in this clip than in the entire length of half of the new movies we get these days.
Daniel, thanks for commenting. Now that I’ve de-spammed you, I can reply.
It’s remarkable, isn’t it? A nearly silent, slowly-paced marvel. The way it creates the dreamlike mood is subtle and not at all obvious. It takes a while to figure out how it works.
Hope you’re off the Askimet list!
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