Film Review: The Cabinet of Dr Caligari.

Robert Wiene's The Cabinet of Doctor Caligari (1920) tells a story of paranoia and intense delusion through the mind of protagonist Francis. (Friedrich Feher) The prologue opens up the story with Francis, beginning to tell a tale of the terrors he and his lover Jane (Lil Dagover) faced in the town of Holstenwall. A flashback through his mind is then shown, introducing the eerie town and its strange structures throughout. The two-dimensional sets are dark, skewed and unrealistically disproportional. With nonparallel windows, spiky edges, wonky buildings and distorted walls, it isn't too outrageous to assume fairly early on that something in the film is up. 

Dr. Caligari (Werner Krauss) is introduced early on in the flashback, where he introduces somnambulist Cesare (Conrad Veidt) to the town of Holstenwall. The apparent sleepwalker tells Francis' best friend Alan (Hans Heinrich von Twardowski) That he is going to be dead by the break of dawn. Alan is mysteriously murdered later that night, fulfilling Cesare's chilling prophecy.

Fig. 1. Movie still

Once the first murder is committed more begin to occur, arising suspicion on Dr. Caligari. This drives Francis to spy on him and Cesare from outside the Doctor's house. During this time Cesare kidnaps Jane from her home, and tries to flee. During this scene a strong example of the exaggerated setting is displayed. (See Fig 1) From what can be seen, the scenery here plays with the mind, due to the fact it appears to be a roof top he is standing on, but an alleyway footpath at the same time. Every bit of structural setting is tilted and zig zagged. The shadows are also predominantly powerful when standing out here too, even on the strong black figure of Cesare. 

After Caligari is followed by Francis to an insane asylum who is ironically the director of it, it is then discovered by Francis that the Dr is indeed the one committing the horrid murders through the unwilling somnambulist. Caligari is locked away in the asylum for this scheme, giving Francis any justice he was pursuing. 

Taking the film back to where it started, the flashback now jumps back to reality, moments before Francis wonders the asylum grounds. There he sees Jane, and behind her is Cesare, although not in his trancelike state. Once he proposes to Jane she rejects him with the reason that she cannot marry someone out of royalty. Appearing out of the door is the director of the asylum, Caligari. Francis starts to accuse him of the crimes, and shouts with anger and confusing regarding why the Dr isn't locked away. Once his anger begins to rise, he is restrained, dragged off and locked away himself, ending the movie.

So what is the sudden twist about and what clues throughout the story suggest it? As mentioned earlier, the town of Holstenwall consists of crooked structures and unnatural logic behind the shapes. This is something that is shown repeatedly in scenes, with no explanation why. Before and after the flashback, the distorted scenery and backgrounds are not shown, which almost immediately explains the bizarre sets seem earlier. The city is a representation of Francis' unstable mind, who indeed is insane. The shadows, spikes and engulfing walls mirror his paranoia and instability. As the film is showing the flashback through this man's mind, it immediately reflects the mental state of him throughout the sets to the viewers.

Fig. 2. Movie still

Another very interesting proof of this, is Jane's room. (See fig 2) Out of all sets in the flashback, this is the only one with curved shapes, and a happy brightness to it. Whereas the others are totally different, with dangerous looking shapes sending off an unsettling mood. The reason this set in particular contradicts the repetitive series of others is because it is personal to Francis and his mind. The room is linked to Jane, who he is in love with. This suggests she brings him a feeling of safety and sanity. Perhaps she is the one thing that can contribute to him becoming stable and mentally healthy, or perhaps maybe she is even the one that has driven him down this path of insanity. Either way, this set gives away a lot about his feelings towards her. Without her bright white costume, the room's curved shapes and the softening mood it provides, it may not be so easy for the sets symbolizing Francis' mind and feelings to make as much sense as they do. 

Despite it being a silent film, Wiene effectively used mise en scene in the backgrounds, lighting and costumes to create a well displayed and strong message in the story and its presence. 

Illustration list

Figure. 1. Elliot, The Cabinet of Dr Caligari still.

http://eskify.com/10-best-1920s-horror-films/

(Accessed on 24/09/17)

Figure. 2. BG Hilton, The Cabinet of Dr Caligari still.

http://bghilton.com/index.php/2016/07/15/frankenstein-and-caligari/

(Accessed on 24/09/17)