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The Cabinet of Dr. Caligari. The Cabinet of Dr. Caligari (German: Das Cabinet des Dr.

All the latest news, reviews, pictures and video on culture, the arts and entertainment. 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.

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Caligari) is a 1. 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 murders.

The film features a dark and twisted visual style, with sharp- pointed forms, oblique and curving lines, structures and landscapes that lean and twist in unusual angles, and shadows and streaks of light painted directly onto the sets. The script was inspired by various experiences from the lives of Janowitz and Mayer, both pacifists who were left distrustful of authority after their experiences with the military during World War I. The film's design was handled by Hermann Warm, Walter Reimann and Walter R. Caligari represents the German war government, and Cesare is symbolic of the common man conditioned, like soldiers, to kill. In his influential book From Caligari to Hitler, Siegfried Kracauer says the film reflects a subconscious need in German society for a tyrant, and it is an example of Germany's obedience to authority and unwillingness to rebel against deranged authority. He says the film is a premonition of the rise of Adolf Hitler and the Nazi Party, and says the addition of the frame story turns an otherwise . Other themes of the film include the destabilized contrast between insanity and sanity, the subjective perception of reality, and the duality of human nature.

The Cabinet of Dr. Caligari was released just as foreign film industries were easing restrictions on the import of German films following World War I, so it was screened internationally. Accounts differ as to its financial and critical success upon release, but modern film critics and historians have largely praised it as a revolutionary film. Critic Roger Ebert called it arguably . Considered a classic, it helped draw worldwide attention to the artistic merit of German cinema and had a major influence on American films, particularly in the genres of horror and film noir, introducing techniques such as the twist ending and the unreliable narrator to the language of narrative film. As Francis (Friedrich Feher) sits on a bench with an older man who complains that spirits have driven him away from his family and home, a dazed woman named Jane (Lil Dagover) passes them. Francis explains she is his .

Most of the rest of the film is a flashback of Francis's story, which takes place in Holstenwall, a shadowy village of twisted buildings and spiraling streets. Francis and his friend Alan (Hans Heinrich von Twardowski), who are good- naturedly competing for Jane's affections, plan to visit the town fair. Meanwhile, a mysterious man named Dr. Caligari (Werner Krauss) seeks a permit from the rude town clerk to present a spectacle at the fair, which features a somnambulist named Cesare (Conrad Veidt). The clerk mocks and berates Dr.

Caligari, but ultimately approves the permit. That night, the clerk is found stabbed to death in his bed. The next morning, Francis and Alan visit Dr. Caligari's spectacle, where he opens a coffin- like box to reveal the sleeping Cesare.

Caligari's orders, Cesare awakens and answers questions from the audience. Despite Francis's protests, Alan asks, . A grief- stricken Francis investigates Alan's murder with help from Jane and her father, Dr. Olsen (Rudolf Lettinger), who obtains police authorization to investigate the somnambulist. That night, the police apprehend a criminal in possession of a knife (Rudolf Klein- Rogge) who is caught attempting to murder an elderly woman. When questioned by Francis and Dr.

Olson, the criminal confesses he tried to kill the elderly woman, but denies any part in the two previous deaths; he was merely taking advantage of the situation to divert blame onto the real murderer. At night, Francis spies on Dr. Caligari and observes what appears to be Cesare sleeping in his box.

However, the real Cesare sneaks into Jane's home as she sleeps. He raises a knife to stab her, but instead abducts her after a struggle, dragging her through the window onto the street.

Chased by an angry mob, Cesare eventually drops Jane and flees; he soon collapses and dies. Francis also confirms that the caught criminal has been locked away and could not have been the attacker. Francis and the police investigate Dr.

Caligari's sideshow and realize that the 'Cesare' sleeping in the box is only a dummy. Caligari escapes in the confusion. Francis follows and sees Caligari go through the entrance of an insane asylum. Upon further investigation, Francis is shocked to learn that Dr. Caligari is the asylum's director. With help from the asylum staff, Francis studies the director's records and diary while the director is sleeping.

The writings reveal his obsession with the story of an 1. Caligari, who used a somnambulist named Cesare to commit murders in northern Italian towns. The director, attempting to understand the earlier Caligari, experiments on a somnambulist admitted to the asylum, who becomes his Cesare. The director screams, .

Caligari's office, where they show him Cesare's corpse. Caligari then attacks one of the staff. He is subdued, restrained in a straitjacket, and becomes an inmate in his own asylum.

The narrative returns to the present, where Francis concludes his story. In a twist ending, Francis is depicted as an asylum inmate. Jane and Cesare are patients as well; Jane believes she is a queen, while Cesare is not a somnambulist but alive, quiet, and not visibly dangerous. The man Francis considers as .

Francis attacks him and is restrained in a straitjacket, then placed in the same cell where Dr. Caligari was confined in Francis's story. The director announces that now that he understands Francis's delusion. As such, he is confident he can cure him. Production. Caligari was written by Hans Janowitz and Carl Mayer, both of whom were pacifists by the time they met following World War I. Caligari character.

She later became the basis for the Jane character. Langer also encouraged Janowitz to visit a fortune teller, who predicted that Janowitz would survive his military service during the war, but Langer would die. This prediction proved true, as Langer died unexpectedly in 1. Movies On Blu Ray Dvd Generational Sins (2017). Janowitz said it inspired the scene in which Cesare predicts Alan's death at the fair.

According to Janowitz, he observed a woman disappear into some bushes, from which a respectable- looking man emerged a few moments later, and the next day Janowitz learned the girl was murdered. Caligari, using the English spelling . Barlow suggested Janowitz may have fabricated the story. Caligari was inspired by portraits of the German philosopher Arthur Schopenhauer. Other character names are also spelled differently from the final film: Cesare appears as .

Likewise, unnamed characters in the final film have names in the script, including the town clerk (. Pommer said he was drawn to the script because he believed it could be filmed inexpensively, and it bore similarities to films inspired by the macabre horror shows of the Grand Guignol theatre in Paris, which were popular at the time.

I saw a relatively cheap film. Caligari makes use of a . They had to be persuaded not to publicly protest the film. Caligari becoming institutionalized. The conclusion to the frame story is missing from the script.

Barlow, argues it does not completely settle the issue, as the original screenplay's frame story simply serves to introduce the main plot, rather than subvert it as the final film's version does. Caligari are in dispute and will probably remain unsettled due to the large number of people involved in the making of the film, many of whom have recalled it differently or dramatized their own contributions to its production. Caligari chose a fantastic, graphic visual style instead of a naturalistic one. This included twisted city scenes that were painted directly onto canvases.