Why Defang This Masterful ‘Vampire’?

In response to Jason Alexander Apuzzo’s “ ‘Vampire’ Does F.W. Murnau Injustice” (Counterpunch, Feb. 5), I just wanted to say that I thoroughly enjoyed this devilish picture and would like to suggest that Apuzzo needs to lighten up a little bit, cut out his long middle name and step off his intellectual high horse when viewing films, and see them for what they are most of the time: simply entertainment.

To me, “Shadow of the Vampire” was brilliantly written, and Apuzzo seems to have missed the fact that the film isn’t about a method actor, but rather, a method director. Who cares if it wasn’t entirely faithful? It’s called creativity, and it’s fun.

RICK CIPES

Los Angeles

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Apuzzo says of “Shadow of the Vampire” that “it is difficult to imagine the real Murnau adopting this attitude toward his own work.” I strongly recommend that Apuzzo take care to avoid such films as “Dick,” “I.Q.,” ’Shakespeare in Love” and, above all, Mel Brooks as Moses in “History of the World, Part 1.”

CHARLIE RYAN

Los Angeles

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While Apuzzo does a superb job of parading his knowledge of German cinema, he completely misses the target in his tirade against “Shadow of the Vampire.”

Apuzzo states that “due to progress in our technology and regress in our psychology, it is difficult to recapture the power of such early masterpieces as Murnau’s ‘Nosferatu.’ ” He couldn’t be more mistaken. One of the most compelling elements of “Shadow” is the way director E. Elias Merhige goes from a film crew setting up a shot to a black-and-white realization of what they are shooting. Merhige’s re-creations of the original masterpiece are staggering in their accuracy and are enhanced by the way we are witness to the details involved in setting up the shots before they are filmed.

Apuzzo goes on to describe “the directorial egomania on display in Merhige’s film.” On the contrary, I delighted in Merhige’s keen eye, his stylistic vision and his eloquent humor.

BRIAN FOYSTER

Los Angeles