Like many films that spawned in the Weimar Era, “Nosferatu” makes statements about the fear and paranoia of the time. Though taken from an earlier novel, Murnau puts his own twists and meanings behind the action. Taking Orlock as a direct representation of the Nazi Party and the general population being portrayed by the extras and small roles, it is immediately apparent that fear is a large part of the society.

A final discussion point can be found in the interesting phenomena which resolves the conflict of the story; Ellen’s self-sacrifice. Ellen decides at the end that the only way she can save her husband is to give herself to the Count. He spends an eve with her, and in the morning, after lingering too long, he is struck down by the sunlight. Ellen may have outwitted the evil and trapped him, ending the conflict. But it is also possible that evil seduced her and brought her to that point, its own foolishness being its demise. With Ellen as a representation of the German population and the Count as the Nazi Party, it is possible to have two connotations: the population eventually saw the evil in the Nazis and were rid of them, but perhaps they were seduced by some twisted inner desire to remain in a cycle of bad government and self-mutilating control.

Murnau’s depiction of Orlock vs. Hutter/Government vs. Popula

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