Vampyr (1932)
Directed by Carl Theodor Dreyer
Allan Gray, a young man fascinated by the supernatural, goes to a small village where he feels a sinister force descending upon him. There, Allan meets an old man who asks him to protect his two daughters, for one of them has been bitten by a vampire.
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What critics compared Vampyr to
Like him or not, Lee knows his predecessors, Hulk’s indebtedness to the surreal drama of the 1930’s horror lexicon knowingly indicated by two shots – one of the Hulk, one of Bruce Banner – lifted from Whale’s Bride of Frankenstein and Dreyer’s Vampyr (not to mention Jennifer Connelly, channeling countless damsels from decades past with a new sense of modern feminine empowerment).
Not only does it also have elements that recall Carl Theodor Dreyer’s Vampyr (1932) and a certain amount of Italian horror, but it’s every inch a Tim Burton picture.
For instance, there's a memorable sequence in Carl-Theodor Dreyer's Vampyr (1932) in which the camera seems to be placed inside a coffin and then carried through the streets.
It's a moody and moving coming-of-age saga, a love story, a wish-fulfillment revenge fantasy and a convincing depiction of a depressed milieu (working-class suburban Stockholm in the 1980s) as well as a vampire movie worthy of being discussed alongside such other offbeat genre touchstones as George Romero's "Martin" (1977) and the still unsurpassed "Vampyr" (1932), also from a Scandinavian filmmaker, Denmark's Carl Dreyer.
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En cambio, El faro sí parece aludir al cine de Jean Grémillon –como me lo hizo notar mi amigo J.J. Negrete– o al del Carl Theodor Dreyer que dirigió Vampyr (1932).
Even a silky-smooth, graceful movement can be an unsettling factor in horror cinema — Dreyer’s Vampyr and Murnau’s Nosferatu attuned to the floating nature of their vampires to elicit an atmosphere of the mysterious attractive side of horror.