Film Chronology – The Cabinet of Dr. Caligari (1920)
by RISHI AGRAWAL
Writers Hans Janowitz and Carl Mayer originally envisioned that The Cabinet of Dr. Caligari would be a social critique, exploring the dangers of power and its ability to corrupt. Much to their dismay, the great Fritz Lang, who was originally the director, tacked on a twist ending, subverting the original message. Lang’s ending was preserved by Robert Wiene, who directed a story of a serial killer with considerable artistry. The most spectacular thing about the movie is the strange set design, which is almost cartoonish with its impossible angles and cramped spaces. This is one of those rare films that bridges the gap between those looking for art and those looking for entertainment.
The film begins with a framing device, where Frances (Friedrich Feher) tells a friend a story about Dr. Caligari (Werner Krauss), a sideshow act whose main attraction is a somnambulist, Cesare (Conrad Veidt). Dr. Caligari has learned to control Cesare’s sleepwalking, sending him out to kill and abduct. Amongst the victims are Frances’ best friend as well as Frances’ fiancée.
The Cabinet of Dr. Caligari is considered to be extremely influential on the horror movie genre. The film is appropriately creepy, with Dr. Caligari and Cesare finding different ways to be sinister. Caligari is the mastermind while Cesare’s macabre nature stems from the fact that he is so unemotional in his catatonic state. The unrealistic nature of the sets also adds to atmosphere, giving the whole film a nightmarish quality. There is an unforgettable shot of Caligari spoon-feeding Cesare sleeping in his coffin. Another memorable shot occurs during one of the early murders, before we know that Cesare is the killer. We see the murder taking place entirely in shadow on the wall. Though I couldn’t be sure if this was the first time the shot was used, it has certainly become a horror movie staple.
I think the film also lasts because of the interesting story. There have been a few remakes of the film, a testament to the plot. I thought the twist at the end was quite clever and unexpected. The plot did get bogged down at points. For example, at one point, Frances breaks into Caligari’s office and finds his notebooks. Caligari’s sinister machinations are revealed through fairly lengthy title cards. On the whole, however, this is not a boring film.
The Cabinet of Dr. Caligari provides an interesting contrast to the Griffith films which were, at least nominally, concerned with historical accuracy and realistic portrayals. The funny thing is, though this film is in no way realistic or plausible, the characters seem more genuine and real.
Up next in Film Chronology: Nosferatu
Caligari is deservedly one of the best known and most popular silent films for its visual aesthetic. It’s so far out there that it remains startling and fresh, even after repeated viewings. It’s the most extreme example of German Expressionism in film, a visual representation of post-war social madness.
I have mixed feelings about the ending. I sympathize with the filmmakers who lost their original ending, since the twist does indeed compromise the social message they intended. On the other hand, the re-written ending is more satisfying for most audiences and made the film much more commercial.
What’s strange is that the first time that I’d watched it, I thought that there was a unique ruse, that Caligari was the instrument of deceit and that the protagonist then got stuck in a asylum with no one believing that Caligari is the reason behind the somnambulist and the murders. A while later I understood the TRUE twist to the ending.
I love this film a whole lot and place it with Kubrick’s “The Shining” as the best horror films of all time.