`The Cabinet of Dr. Caligari' may not be the kind of film that would shock today's audience, but its fascinating and horrific use of surrealistic atmosphere clearly had an influence on modern filmmakers such as David Cronenberg and David Lynch. While the story is not as involving as other German masterworks of the era, such as "Metropolis," it can be appreciated for its unique vision.
The thing that really strikes me about this film is the way the set design reflects the unstable mind of the narrator. The exterior scenes often include painted backgrounds featuring houses with sloped roofs and jutting edges, along with mountains that seem to twist and curl upwards into the sky. Although these backgrounds are not three-dimensionally realistic, they convincingly depict the gothic, surrealistic atmosphere with imagination and verve. The interior scenes have a claustrophobic feeling that generates from the walls, which are often at odd angles and slanting inward as they rise. Much of the design appears to be influenced by cubism; even the sinister Dr. Caligari looks square-shaped. The lighting also reflects the chilling mood, with shadows haunting the nooks and crannies in the background.
The characters in the film sometimes seem equally freakish. All the actors wear makeup that make them appear as pale as a ghost, and the men are decked out in dark suits and capes. Ominous figures approach the camera directly in two haunting sequences early on: in the opening scene, when we see Jane walking towards us in a ghost-like white gown, and in the initial carnival scene, when Ceasre steps out of his box. In the end, we learn that it is really Francis who was insane the whole time; thus, the sets during the story, which is told by Francis himself, reflect his disoriented mind. Not surprisingly, the bookend scenes where he tries to tell his tale to an old man in a garden are the only ones to involve natural surroundings, such as trees and grass.
For a one-hour horror film, "The Cabinet of Dr. Caligari" requires a lot of concentration on the viewer's part, especially since the story sometimes seems fragmented. Nonetheless, it will no doubt prove fascinating for years to come.
The thing that really strikes me about this film is the way the set design reflects the unstable mind of the narrator. The exterior scenes often include painted backgrounds featuring houses with sloped roofs and jutting edges, along with mountains that seem to twist and curl upwards into the sky. Although these backgrounds are not three-dimensionally realistic, they convincingly depict the gothic, surrealistic atmosphere with imagination and verve. The interior scenes have a claustrophobic feeling that generates from the walls, which are often at odd angles and slanting inward as they rise. Much of the design appears to be influenced by cubism; even the sinister Dr. Caligari looks square-shaped. The lighting also reflects the chilling mood, with shadows haunting the nooks and crannies in the background.
The characters in the film sometimes seem equally freakish. All the actors wear makeup that make them appear as pale as a ghost, and the men are decked out in dark suits and capes. Ominous figures approach the camera directly in two haunting sequences early on: in the opening scene, when we see Jane walking towards us in a ghost-like white gown, and in the initial carnival scene, when Ceasre steps out of his box. In the end, we learn that it is really Francis who was insane the whole time; thus, the sets during the story, which is told by Francis himself, reflect his disoriented mind. Not surprisingly, the bookend scenes where he tries to tell his tale to an old man in a garden are the only ones to involve natural surroundings, such as trees and grass.
For a one-hour horror film, "The Cabinet of Dr. Caligari" requires a lot of concentration on the viewer's part, especially since the story sometimes seems fragmented. Nonetheless, it will no doubt prove fascinating for years to come.