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Julian West, Maurice Schutz, Jan Hieronimko, Sybille Schmitz, Rena Mandel ... see more see more... , Henriette Gerard , N. Babanini , Albert Bras , Baron Nicolas de Gunzberg

Vampyr ranks in many circles as one of the greatest horror films of all time. Inspired by Sheridan Le Fanu's Carmilla, the story concerns a mysterious series of killings, committed by a crone of a fem... read more read more...ale vampire (Henriette Gerard). The story is told through the eyes of a holiday reveller (Julian West), who at first scoffs at the notion of a supernatural murderer, but who is eventually forced to believe that there are more things in heaven and earth. Dreyer offers few explanations of the phenomena he presents on screen: the strange and frightening happenings just happen, as casually as any everyday occurrence. As was his custom, Dreyer mostly uses nonprofessionals in his cast. Vampyr is available in a wide variety of severely edited and duped versions. ~ Hal Erickson, Rovi

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81% liked it

5,154 ratings

Critics

100% liked it

25 critics

Unrated, 1 hr. 15 min.

Directed by: Carl Theodor Dreyer

Release Date: May 6, 1932

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DVD Release Date: May 13, 1998

Stats: 430 reviews

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Flixster Reviews (430)


  • April 12, 2012
    The plot can be a little light and incoherent at times, but Carl Theodor Dreyer's "Vampyr" manages to be an effectively creepy film. The gothic scenery and unsettling visuals give the film a "nightmare" sensibility that makes this a great horror movie to watch on a dark Hallowee... read moren night. There are so many scenes in this move that are really well done. One of the things I admire about the film is it's kinetic cinematography, which gives way to very interesting viewpoints in a lot of scenes. One example is a scene were the camera puts us through the perspective of a man lying in a coffin as he is being carried to be buried in a graveyard. The camera points straight up through a small window in the coffin, which gives way to creepy bits were people are looking inside the coffin and views of a gothic church from an upward angle. The concept of being buried alive is pretty terrifying, which is why the first-person camera viewpoint makes the scene very effective. The film also uses shadows in a way that is both hypnotic and surreal. Despite being a sound movie, it might as well be called a silent film since there is very little dialogue spoken throughout. I highly recommend this movie to anyone who is a horror fan or is in the mood for a good spook-fest.
  • fb1664868775
    October 27, 2011
    fb1664868775
    Probably the most frightening film I've seen to come out of the 1930's. The visuals are still enough to give you nightmares.
  • April 30, 2011
    How to describe Carl Theodor Dreyer's Vampyr: It's the cinematic equivalent of wandering alone in a graveyard at midnight. Allan Grey, a supernatural afficionado, stumbles on an eerie Inn in the Scandanavian countryside. It's there a vampire is feeding on the blood of children ... read moreand enslaving townfolk to do his dark bidding. One such slave is the town quack -- an Einstein-looking, blood-lusting angel of death, forcing transfusions and treating ailing vamp-victim Leone with the dreaded vile marked with skull and crossbones. Dreyer was a visual genius, and he creates a universe of such chilling lucidity and atmosphere you might get dizzy mid-viewing. His camera lurches down dark corridors, scaling a wall of waltzing, shadowy ghosts locking the viewer in a maze of disorienting motion and menace. Shadows are now spiritual beacons bouncing around the flower-checkered walls and off of ghoulish, foggy ponds with no discernable tie to the figures that, we assume, originated them. They become perplexing, silhouetted characters all their own. Then actors get so under-exposed we can't tell the difference anymore. It's a nightmarish out-of-body-experience.

    Made in 1931, Vampyr is a melange of sound and silence. Aural bites are sparse but they rattle and shake the Inn walls, perfectly timed and effectively reserved: the cries of children, maniacal laughter, a knock on the door from an unwelcome visitor, the rare and mysterious line of dialogue. "She must not die!" says Allan Grey's midnight guest before he scribbles a message on a strange package: TO BE OPENED AFTER MY DEATH. (I bet you can guess what happens next.)

    There's an unsettling sense of know-how about Dreyer's demented vision. He has mastered what scares us: In a hallucinatory dream state, our hero wanders into a cottage and watches as he is buried alive. We are immediately placed in the body's subjectivity as the coffin lid comes down over the camera. A small glass window, conveniently placed over the victim's face, allows us to watch, from our backs, as twisted tree limbs and cloudy skies pass overhead. Heaven, or perhaps hell, smiles back, as the damned are carted off. The looming storm clouds and specks of sun constantly do battle over Dreyer's hellish country Inn (the first Overlook Hotel, Bates Motel, or even Hostel), where he stages his seminal horror masterpiece.
  • January 13, 2011
    widely rejected by critics at the time of release, dreyers classic horror film must have been ahead of its time because critics and fans alike now love this film. the film is rigorously slow paced, in some senses patient and in other senses laborious, the strength of the film re... read moreally seems to lie in striking images, especially towards the end of the film. the pace is excused thanks to a short running time making this a classic vampire tale that can be enjoyed many times over without much commitment.
  • December 4, 2010
    Dreyer achieves the same bleak and haunting atmosphere that I reach in my imagination while I read Lovecraft or Poe.
  • November 2, 2010
    Atmospheric horror that uses limited dialogue and a clever use of camera and lightning techniques to tell it's story. I do felt a bit lost regarding the second, so it might need a rewatch.
  • October 2, 2010
    Blending his mastery of the silent era with the storytelling of a voice production, Carl Theodore Dreyer constructed one of the most staple examples of the transition in filmmaking of this time. Vampyr is a strange, ghostly picture of eery visuals and dreamily progressing scenes.... read more It's a dark, demanding effort to watch but its experimental nature makes for a fascinating and pioneering achievement.
  • September 6, 2010
    I love vampire movies, but this one is from the early thirties when they were just switching to sound, so there is only dialogue and no music, and the people in the movie don't say much. It could have been good as a silent film, I think. This movie is silent and boring, plus it... read more confused me. The best part is the ending.
  • June 30, 2010
    Long on atmosphere but short on plot the film seems more like an expanded and bloated experimental piece using every camera gimmick possible for its time. Some of it works well like the dream sequence but the overuse of the same tricks and its thin story makes it a chore to sit t... read morehrough.
  • October 29, 2009
    "Nots-feratu"
    Sometimes, they say, you have to be in the right mood to appreciate a movie. But what does it say about the quality of that movie if it's intrinsic value can't be appreciated in any random circumstance? Vampyr, a film from 1932 (directed by the legendary Carl Dre... read moreyer), might've been better suited to the silent era, the addition of a soundtrack does it little favor. There's a sleepy, dream-like quality to it that, if anything, the sound detracts from, bringing us back into reality (watching it, I was never unaware that I was "watching" a movie, there was never a suspension of disbelief). The movie's pacing is, like most films of the silent era, very slow and deliberate, but it feels as if there's not alot being said by Dreyer. Also, I realize that it's not meant to be a horror film in the strict sense of the word, but I didn't find the atmosphere all that creepy either. It inferior to Nosferatu in every regard, and while it may deserve a second look by today's film historians, it's hardly the creepy classic it's so often touted as being. Perhaps, if I ever watch it again, I'll be in a more receptive state, and its qualities will grow on me. If I ever watch it again, that is.

Critic Reviews


J. Hoberman
August 28, 2008
J. Hoberman, Village Voice

Vampyr is Dreyer's most radical film -- maybe one of my dozen favorite movies by any director. Full Review

Jonathan Rosenbaum
September 19, 2007
Jonathan Rosenbaum, Chicago Reader

If you've never seen a Carl Dreyer film and wonder why many critics, myself included, regard him as possibly the greatest of all filmmakers, this chilling horror fantasy is the perfect place to begin ... Full Review

John Beifuss
February 17, 2011
John Beifuss, Commercial Appeal (Memphis, TN)

An often gauzy-gray movie that makes as much use of white as of the traditional horror-movie black, 'Vampyr' is so beautiful to look at, it's hypnotic. Full Review

Donald J. Levit
January 6, 2011
Donald J. Levit, ReelTalk Movie Reviews

In psychological effect, beautiful individual shots are contrasted and related one to another as in dreams or emotions rather than logic. Full Review

Jeremy Heilman
July 23, 2009
Jeremy Heilman, MovieMartyr.com

Vampyr might not be much of a vampire movie, but it's one hell of a horror movie. It creates a sense of unease that few films can compete with, casting viewers into a realm where meanings are elusive ... Full Review

Ken Hanke
September 24, 2008
Ken Hanke, Mountain Xpress (Asheville, NC)

Almost entirely devoid of the outright thrills associated with the genre, while managing to be one of the creepiest, most unsettling movies you're ever likely to see. Full Review

Matthew Sorrento
August 26, 2008
Matthew Sorrento, Film Threat

Vampyr plays like a musty old photo that wakes to jolting life. Full Review

Anton Bitel
August 19, 2008
Anton Bitel, Film4

In a triumph of the irrational, Dreyer's eerie memento mori never allows either protagonist or viewer fully to wake up from its surreal nightmare. Full Review

Matt Brunson
August 6, 2008
Matt Brunson, Creative Loafing

The notion of cinema as dreamscape has rarely been realized as exquisitely as in Danish writer-director Carl Theodor Dreyer's moody vampire tale. Full Review

Christopher Null
July 30, 2008
Christopher Null, Filmcritic.com

remarkable for the way that it explored the occult some 76 years ago. Full Review

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