Synopsis
The Strange Adventure of Allan Gray
A student of the occult encounters supernatural haunts and local evildoers in a village outside of Paris.
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Vampyr
Cast
Director
Producers
Writers
Original Writer
Editor
Cinematography
Assistant Directors
Art Direction
Set Decoration
Special Effects
Composer
Sound
Studio
Countries
Primary Language
Spoken Languages
Alternative Titles
Castle of Doom, Not Against the Flesh, The Vampire, Vampyr, la bruja vampiro, 뱀파이어, Вампир: Сон Алена Грея, Vampirul, Wampir, 吸血鬼, Βαμπίρ, Vampyr, ou l'étrange aventure de David Gray, O Vampiro, Vampiro, Vampyr - Il vampiro, The Strange Adventure of David Gray, Vampyr - Il Vampiro, Vampir, Вампир, Upír aneb Podivné dobrodružství Davida Graye, Вампір: Марення Аллана Ґрея
Genres
Themes
Releases by Date
Theatrical
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Germany12
23 Sep 1932
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France12
27 Mar 1933
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Denmark
14 Aug 1934
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USANR
Physical
25 Aug 2008
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UKPG
Releases by Country
Denmark
27 Mar 1933
- Theatrical
France
23 Sep 1932
- Theatrical12
Germany
06 May 1932
- Theatrical12
UK
25 Aug 2008
- PhysicalPG DVD
USA
14 Aug 1934
- TheatricalNR
Popular reviews
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There’ll never be anything as influential as Murnau’s Nosferatu, and I’m the first to sing the praises of Herzog’s revisionist remake, but there’s absolutely no question it’s Vampyr that takes the cake as my all-time favourite vampire film. In 1932, Dreyer was moving the camera with all the fluidity of Fellini, Ophüls and Scorsese combined, German-expressionist set designs and dizzying flash-photography grounding Vampyr as one of the most visually stimulating horror films to date. I can understand criticism aimed at the conflicted nature of the film as a whole, caption-cards and questionable sound editing revealing its internal struggle between silent film and sound. To my mind, you can hardly blame the film as much as the era for this, the…
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As a piece of film history, and for its technical achievements, "Vampyr" is compulsory viewing. However, as an actual piece of narrative filmmaking it left a lot to be desired. There are some nice atmospheric shots and there's a plethora of Gothic imagery that engaged my visual interest, but the story itself was rather dull and boring. I'm glad I got around to watching this, but I don't think I'll be re-watching it anytime soon!
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#Dreyer-athon with Jack
Spiritual fulfillment written in a book of macabre lore. Dreyer's Vampyr sees the director's return to spirituality after his religiously profound opus The Passion of Joan of Arc – but this time, wrapping the road to heaven in an even denser gauze of narrative mist and telling his story through mystic visuals.
Vampyr is a masterpiece because it works on two separate layers. It can be viewed as a visual mood piece, a haunting story of vampires transfused with a ghastly tone and groundbreaking technicality. Dreyer rotates his camera on its horizontal axis and casts grotesque shadows against whitewashed walls in a frenzy of mirage-like motion, making us ponder the meaning of illusion. He puts his camera…
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Dreyer acts like the arrival of sound is only a detail. Some of the finest camera work and moody images around. True experimental cinema that happens to have some recognizable narrative beats, but seems concerned with inhabit a space and a feeling above all
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"Preoccupied with superstitions of centuries past, he became a dreamer for whom the line between real and supernatural became blurred..."
This is the most radical of Dreyer's works, and possibly the most formally radical film of any of the 'classical' directors. Not so much abstract as it is a recasting of narrative forms and spacial dissonances, CTD uses generic tropes - a door which opens by itself, a shadow which lives beyond the person casting it - as an opportunity to take 'normal' images and make them incomprehensible - where the simple image of a man walking down a gravel path can become distorted by the simple act of viewing it. Yet at the same time - this is a…
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i'm finding it really hard to rate this properly. i can appreciate it for what it is and it has some haunting visuals, but i just didn't find myself being as immersed in it as i probably should've been. i was extremely bored for most of it but i will say that there are several shots that will stay with me for a while. that coffin shot alone is a reason to watch this. i am glad that i finally got around to checking this out, i just wish that i could've enjoyed it a lot more.
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Part of the 30 Days in May challenge, 2014 edition
Germany
Expectations for Vampyr were sky-high, as I had recently watched, and completely fell head over heels for, Dreyer’s The Passion of Joan of Arc, his previous film. I thought my wife and I were going to watch Ordet next, but, the brevity of Vampyr fit in well with our 30 countries ‘watch before work’ methodology.
I’ll have to acknowledge right off the top that the visuals are as arresting as Joan. While the restorers didn’t have the same advantage of a pristine print to work from, you can see the care taken in attention to contrast and sharpness. In fact, in Vampyr, Dreyer is even cleverer, as he has…
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***One of the best 150 films I have ever seen.***
A milestone in cinema. Dreyer juxtaposes a dense atmosphere with lights, shadows and Gothic visuals having a feast in a ball of horror. Vampyr still ranks as one of the greatest (and scariest) movies of all times, but it initially demands the viewer to let himself/herself to be fully submerged into its supernatural world. With an impeccable vision of the earthly, the otherworldly, the unknown and the macabre, and with an almost complete lack of dialogue, we venture into a world of the unexpected, as unprecedented cinematic transitions between life and death are presented with groundbreaking images filmed in black and white, exactly the colors in moving images that hide…
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Criterion Collection Spine #437
(Foreign language film)
(Halloween Movie Fest 2020)After watching 'Haxan', 'The Phantom Carriage', and now Vampyr ... I must say that other than a few memorable eerie moments I have a hard time getting into these slow atmospheric gothic horror movies.
"I know. I'm lost. I'm damned."
I started out enjoying this vampire story more than the others I mentioned, but as the story went along the dreamlike quality of the narrative made it difficult to follow. Which became frustrating since it felt like I had missed something. But I would likely enjoy Vampyr more on a rewatch, now that I know what to expect from it.
"Come quickly! Something terrible is happening! Come quickly!"
(Quick…
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Relative to films like Nosferatu and Dracula, the story of Vampyr is told in its most unorthodox direction. It’s subdued in an eerie atmosphere with a minimalist dialogue, and it heavily relies on striking imagery to provoke any drama in its narrative.
The film feels like a fever dream, which is why I presume it’s subtitled The Dream of Allan Gray. From unlinked scenes to unconventional cutaways, the ambiguity of it all is unsettlingly bizarre.
It’s incredible how the camerawork fluently intertwines its physical reality with Allan Gray’s mental images. The moving shadows and the lurking skeletons are obvious, but it’s never clearly shown what’s objective reality and what’s coming from Gray’s curious head.
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