Almost a legendary fable of cinema already, Das Cabinet des Caligari begins as two
met sit on a bench. A young man, Francis (Friedrich Fehér) tells a story to an
old man (Hans Lanser-Rudolff) and we are transported to see the events unfold.
A small village is introduced. Francis and his friend Alan (Hans Heinrich von
Twardowski) are to go out on the town, and visit the fair, but not before they
banter about their love of the local girl Jane (Lil Dagover). Unknown to the
boys, amongst the glowing lights of the fair, Dr Caligari (Werner Krauss) is
due to perform with his somnambulist Cesare (Conrad Veidt, who would go on to
play the trumped up Nazi in Casablanca).
As the two enter the tent, it is revealed that Cesare knows the past, present
and future. Cesare, expressionless with piercing-eyes, tells Alan that he will
die before the morning and as predicted, Alan is murdered in the night - by
Cesare. Francis immediately seeks support and holds his suspicions towards
Caligari himself. Even magic appears to be at play when Cesare kidnaps Jane,
while Francis spies on both Caligari and the sleeping Cesare – how can he
appear in two places at once? Though Caligari is the villain of the film, it
seems that all is not what it seems for Francis either.
Released in 1920, and directed by Robert Wiene, Das Cabinet des Dr. Caligari has become
the subject of many essays, books and articles of cinema. At 77-minutes long,
this is a short film that, broken into six-parts, is easy to watch and a
pleasure to re-watch now it has been fully restored. Silent cinema has never
looked so good, and the colour-tints and painted-sets, with their fake-shadows
and sharp lines, only serve to establish the film as a work of art.
So much has been inspired by the film, such as Murnau’s Nosferatu two years later, but it has
continued to this day. Danny
DeVito’s Penguin in Batman Returns
is clearly the villainous Dr. Caligari himself; glasses, top hat and cane
included. Martin Scorsese’s Shutter
Island, an underrated homage to psychological thrillers of the era, pays a
huge debt to the plot and doctor-patient dynamic seen in Caligari. The jagged
edges, and diagonal lines, would go on to influence Carol Reed’s The Third Man, which would in turn
influence Spike Lee. In fact, the bizarre setting is perhaps the most memorable
element. But it is worth remembering how, within a few decades of the invention
of cinema, a film like this was made. Haunting and innovative, Das Cabinet des Caligari is the horror
film every cinema goer needs to watch. And if you’ve seen it before? Watch it
again.
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