Cabinet of Dr. Caligari

The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film, directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. Considered the quintessential work of German Expressionist cinema, it tells the story of an insane hypnotist (Werner Krauss) who uses a somnambulist (Conrad Veidt) to commit murdersFor the sake of transparency I will make it explicitly clear that I am reviewing the original form of this film, and have yet to watch the restored versions of it. with that said, modern renditions of this movie are readily acceptable onlineThis work has been cited as a significant source of inspiration for artists (like Tim Burton) that embrace elements related to fantasy that are fairly described as dark and perhaps even gloomy; The set and character design are indicative of a genuine understanding of how certain visual elements can make an audience feel, and thus make it an illustrious piece of work. Despite being a film with no audible dialogue, strategic uses of light and other characteristics that can be taken for granted (costume and makeup related direction, etc) guide the audience's emotion as the plot develops over time . Not only does this give me the impression that there is some amount of self-awareness regarding the inevitable shortcomings films like this can have, but is also the result of attempting to overcome these as well in a way that is practical and engaging.First impressions may leave people thinking that the overall plot of this film is juvenile, but it's a success and genius is in the various themes that are seamlessly included without feeling forced. For one, It has been expressed that this film is an allegory regarding thoughtless compliance to authority, and aims to explore the dangers of doing so in a manner that is polite and easy to swallow. In addition to this, ‘The Cabinet of Dr. Caligari’ Includes some interactions meant to expose and inspire conversations regarding the duality of man by intentionally blurring the lines between characters that could otherwise be categorized as evil or good. As this film arrives to its conclusion in a slow crawl the story embedded also transforms into a piece related to the plight of those considered (Or, more importantly, labeled) mentally ill and subliminally encourages its viewers to address the needs of people affected by these conditions in a way that is responsible and respectful.As I mentioned earlier, significant characteristics involving the narrative technique in the ‘Cabinet of Dr. Caligari work to make its plot easy to understand. I don't think there was a moment in this film where music was not present, and despite that I wouldn't consider it as being overbearing or as a necessary evil. Scenes in which some amount of dialogue or the setting significantly changes are paired with frames that narrate or summarize the overarching context in which certain interactions are taking place. Because of this, this film is also relatively easy to follow and patches any holes that could otherwise be poked through and easy to fall in to if not approached with caution.Could I complain about this film? The answer to that is most certainly, but to do so would ignore the time in which it was created and ignore the significant impact it has had on movies released even a hundred years from its conception. To complain would require some ignorance regarding the tools available to the team responsible for this work, and it just goes to show the amount of perfection that is possible when left to our own devices.In closing, I choose to ignore my critiques that would be appropriate thrown at films from a more modern era, and I silently remind myself:It’s not the resources we have, but how we choose to use them that makes a difference.I would recommend!

Considering that this is a 100 year old movie, it is still a great watch.I must admit I was skeptical at watching a silent movie, but was quite thrilled with the plot twist and incredible set designs.I can definitely see Tim Burton being inspired by some of the great set and art designs.Do yourself a favor and give it a watch!

Finally there is a version of THE CABINET OF DR CALIGARI that shows it in such a way that it is now possible to understand the impact that the film must have had on audiences in 1920. Of course in order to fully achieve that effect it is necessary to try and view CALIGARI as a product of its time and realize that it is more an example of Expressionist art than a traditional movie yet its influence was profound. This new Blu-ray incarnation featuring the latest digital restoration techniques really brings out the artistic design of the sets with their harsh painted images and distorted angles. Never has the movie more resembled a work of art than it does here. In addition to the stylized sets, the remarkably theatrical make-up worn by Caligari (Werner Krauss) and Cesare (Conrad Veidt) has never been more available for study. Freeze a frame or two during their first appearance together and see how flamboyant and intense it is.Although the immediate horror impact of CALIGARI has long been diminished by the more explicit movies that have followed in the nearly 100 years since it was made, it still remains the stuff of nightmares as its images seep into your subconcious mind and will linger long afterwards even if you aren't fully aware of it. That is something that CALIGARI's creators were striving for. For those who aren't familiar with the story, it's a relatively simple one. A series of horrific murders in a small town can be traced to a mysterious doctor at the local fair and the sleepwalker he exhibits. The allegorical nature of the symbolic figures of the film with what happened to Germany as a result of World War I are easy to see and show how it is possible for the power of genuine art to transcend time and space and remain valid although in a different way than when it was first created.In addition to the quality of the restored images, what makes this release so valuable is the 52 minute documentary on the making of the film and an overview of German silent cinema. The restoration comparisons between now and 30 years ago shows just how far film preservation has come and how it is possible for these movies from another time and place and from a completely different mindset to still have the power to enthrall, move, and enlighten us. Of the many fine efforts from the F.W. Murnau foundation which has brought us quality versions of METROPOLIS and NOSFERATU and the DOCTOR MABUSE films, this version of THE CABINET OF DR CALIGARI now takes top honors. An absolute essential to anyone interested not only in the cinema of the Weimar Republic but in the history and the power of the movies themselves.

This German Expressionist movie from 1920 is a stunning film. The jagged distorted sets are like nothing I've ever seen, like watching a comic/graphic novel brought to life. It doesn't matter that they're flat and visibly flimsy. Thanks to the (controversial) framing device for the story these qualities can be interpreted in terms of the narrator's mental state.It tells the story of a showman calling himself Dr Caligari who turns up at the annual fair of small German town with his attraction, a Somanbulist (i.e. sleepwalker), a man who has been asleep for all of his 23 years. Caligari is able to awaken and control this man, Cesare, for short periods. When awake Cesare is able to answer any question he is asked - or so Dr Caligari says. Coincident with Dr Caligari's arrival in town people start to be murdered in the night...Werner Krauss is diabolical as Dr Caligari, even if he does look disconcertingly like Mick Aston (the white haired professor from Time Team) in close up. He's also funny. In fact, he reminds me of an evil Tommy Cooper or of Les Dawson in Zebediah Twine mode.What lifts the film onto a completely different plane though is Conrad Veidt as Caligari's sleepwalking slave Cesare. He seems part man, part baby, part demon, part doll. The scenes in which he walks from his cabinet onto the stage in front of the crowd and in which we see him prowl down a deserted street and then ascend into a house have a quality almost like dancing (emphasised even further by his costume, which resembles that of a male ballet dancer). Veidt has a hypnotic presence on screen (ironic given the trance in which he walks). He is dangerous but vulnerable, broken and lost.The quality of the restored film on the blu-ray is a marvel in itself. The detail that we're able to see, for example the white markings on Cesare's costume, are extraordinary.The Eureka blu-ray also has some great extras. Along with a commentary, there's an hour long documentary putting the Cabinet of Dr Caligari in context within German Expressionist cinema. There are also a couple of shorter documentaries including one which shows how the restoration was done. This is fascinating. I am full of admiration for the work that went into this project and the talent of the people involved.

The Cabinet of Dr. Caligari us a stunning visual masterpiece, with (for the time) an innovative narrative. Many modern film makers owe this film a debt.The visual style is arresting and disturbing, a triumph of German expressionism. Every set - the whole town, the forest, the asylum - everything is jarringly odd angles. There isn't a right angle to be seen. Think about the backdrops for Tim Burton's `Nightmare before Christmas' and you'll get the idea. It looks, to today's eyes, like the back drop to a cartoon. Back in 1920 it must have been a huge surprise to cinema audiences. As well as the set design is the use of unusual camera shots, odd perspectives, odd lighting that just add to the feeling of a surreal dream.The story itself is the tale of a man, almost an automaton, whose will is totally subservient to the evil Caligari. It is a template that was copied many times by Hammer with their Frankenstein films. Caligari arrives at a small town fair, with a mysterious cabinet. Inside is Cesare, a somnambulist who has been asleep for 23 years, and is totally controlled by Caligari. In short order a series of mysterious murders are committed, and Cesare, under Caligari's influence, is the obvious suspect.Throughout the film there are small plot twists and misdirection - there is a copycat murderer who makes Cesare appear guiltless for a while, and how can the hero of the tale, Francis, be watching Cesare doing nothing in Caligari's room when his fiancé is being kidnapped by the said somnambulist? But this is topped off by the big twist at the end. Francis follows Caligari to a lunatic asylum, where it transpires that Caligari is the director, and also quite insane. Then comes the final thrilling twist, the icing on the cake (which I will not spoil here for newbies). This is probably the first instance of the twist ending so beloved of M. Night Shaylaman in film history.There are learned essays out there that will tell you that the main part of the film is an allegory for the state of Germany at the time of filming, and the history of the beginning and final scenes, which were tacked onto the film later. I've never been too interested in drawing these allusions, and whilst I find it an interesting historical document in terms of film history and development, that takes second place to my enjoyment of it as a rippingly good yarn, and an entertaining and engrossing film.This version from Eureka is a decent release. The print of the film is more than acceptable. For a film over 90 years old it is in remarkable shape. It is a lot better than some other releases I have seen over the years. There is an interesting musical score, a decent and interesting commentary and a short vampire film directed by Weine as an extra. It's not quite in the same league as Eureka's `Masters of Cinema' series, but it is a pretty good version. All in all a decent release of an absolute classic that every cinema lover who enjoys imaginative twists and disturbing settings will enjoy.

I never usually write reviews but this movie really deserves one. This is one of the best, most effective silent movies I've ever seen! For 1920, the quality of work here is incredible. From the impressive and stylish title cards at the beginning to the ambitious, creative and artistic set pieces, this film is a must see.The theatrical feel to this film is incredibly atmospheric and doesn't feel dated at all. The artistic nature of the sets coupled with the beautiful music creates a unique world that is rarely captured on film. The story is played out in "6 acts" and the pacing is nice; not slow and equally not speedy. 77 minutes flies by with this piece of expressionist artwork.I love Hitchcock, Chaplin and Keaton but this piece of art almost makes me rank it higher than all of them. Buy it now and enjoy a superb quality version of a film that is almost 100 years old!

Simply, the birth of Horror cinema.

Its Masters of Cinema..what's not to enjoy?! Excellent restoration of classic movies.