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| A worthy successor to Murnau's Nosferatu. It is bathed in an atmosphere whose magic only the cinema could express. |
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| (Lotte Eisner) |
| Dreyer somehow manages to imply horrors: evil wafts off the screen like a chill of bad breath. |
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| (John Coleman, New Statesman, 1976) |
| Makes our contemporary explicit Draculas look like an advertisement for false teeth. |
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| (Dilys Powell, Sunday Times, 1976) |
| Taken frame by frame there is an eerie beauty about it that is positively staggering. |
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| (Guardian, 1976) |
| Not so much a horror film as an eerie mood piece, a dream, the visualization of the conflict between the heart and the brain for the soul. |
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| (Danny Peary, Guide for the Film Fanatic, 1986) |
| Most vampire movies are so silly that this film by Carl Dreyer - a great vampire film - hardly belongs to the genre. Dreyer preys upon our subconscious fears. Dread and obsession are the film's substance, and its mood is evocative, dreamy, spectral. |
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| (Pauline Kael, New Yorker, long after release) |
| Vampyr never achieved the vogue of such inferior horror films as James Whale's Frankenstein and Tod Browning's Dracula. |
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| (Andrew Sarris, Village Voice, long after release) |
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