Vampyr is the product of growth. An inherent need and desire to adapt to the ever-shifting genre notations is one aspect of this Carl Theodor Dryer work, but another is his inherent longing for change. It is this change that paved the way for future directors. He is the great magician of the camera, influencing those that came long after his time. But Vampyr is another sad case where the art it influences is far superior. It is not a hard margin to leap over, for without its technical excess and merit, this late 1920s Dryer piece is aggressively dull.