The Cabinet of Dr. Caligari  

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Cesare falls to his death during the pursuit and the townsfolk discover that Caligari had created a dummy of Cesare to distract Francis. After being confronted with the dead Cesare, Caligari breaks down and reveals his [[mania]] and is imprisoned in his asylum. The influential [[twist ending]] reveals that Francis' flashback is actually his [[fantasy (psychology)|fantasy]]: Caligari is his asylum doctor, who, after this revelation of his patient's [[delusion]], claims to be able to cure him. Cesare falls to his death during the pursuit and the townsfolk discover that Caligari had created a dummy of Cesare to distract Francis. After being confronted with the dead Cesare, Caligari breaks down and reveals his [[mania]] and is imprisoned in his asylum. The influential [[twist ending]] reveals that Francis' flashback is actually his [[fantasy (psychology)|fantasy]]: Caligari is his asylum doctor, who, after this revelation of his patient's [[delusion]], claims to be able to cure him.
 +==Responses==
 +Critics worldwide have praised the film for its [[expressionism (film)|Expressionist]] style, complete with wild, distorted set design—a striking use of ''[[mise en scène]]''. ''Caligari'' has been cited as an influence on [[film noir]], one of the earliest [[horror film]]s, and a model for directors for many decades, including [[Alfred Hitchcock]].
 +[[Siegfried Kracauer]]'s ''[[From Caligari to Hitler: A Psychological History of the German Film|From Caligari to Hitler]]'' (1947) postulates that the film can be read as an allegory for German social attitudes in the period preceding [[World War II]]. He argues that the character of Caligari represents a tyrannical figure, to whom the only alternative is social chaos (represented by the fairground). However, Kracauer's work has been largely discredited by contemporary scholars of German cinema, for example by Thomas Elsaesser in ''Weimar Cinema and After'', who describes the legacy of Kracauer's work as a "historical imaginary". Elsaesser claims that Kracauer studied too few films to make his thesis about the social mindset of Germany legitimate and that the discovery and publication of the original screenplay of ''The Cabinet of Dr. Caligari'' undermines his argument about the revolutionary intent of its writers. Elsaesser's alternative thesis is that the filmmakers adopted an Expressionist style as a method of product differentiation, establishing a distinct national product against the increasing import of American films. Dietrich Scheunemann, somewhat in defense of Kracauer, noted that he didn't have "the full range of materials at (his) disposal". However, that fact "has clearly and adversely affected the discussion of the film", referring to the fact that the script of ''Caligari'' wasn't rediscovered until 1977 and that Kracauer hadn't seen the film in around 20 years when he wrote the work.
== The cult film par excellence == == The cult film par excellence ==
:'''''The Cabinet of Dr. Caligari''''', "the [[cult film]] par excellence," which ran continuously at the same Paris movie house from [[1920]] through [[1927]]. --''[[Midnight Movies]]'' (1983). page 23. :'''''The Cabinet of Dr. Caligari''''', "the [[cult film]] par excellence," which ran continuously at the same Paris movie house from [[1920]] through [[1927]]. --''[[Midnight Movies]]'' (1983). page 23.

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The Cabinet of Dr. Caligari (original title: Das Cabinet des Dr. Caligari) is a groundbreaking 1920 silent film directed by Robert Wiene from a screenplay written by Hans Janowitz and Carl Mayer. It is one of the earliest, most influential and most artistically acclaimed German Expressionist films.

Plot overview

The film tells the story of the deranged Doctor Caligari and his faithful sleepwalking Cesare and their connection to a string of murders in a German mountain village, Holstenwall. Caligari presents one of the earliest examples of a motion picture "frame story" in which the body of the plot is presented as a flashback, as told by Francis.

The narrator, Francis, and his friend Alan visit a carnival in the village where they see Dr. Caligari and Cesare, whom the doctor is displaying as an attraction. Caligari brags that Cesare can answer any question he is asked. When Alan asks Cesare how long he has to live, Cesare tells Alan that he will die tomorrow at dawn — a prophecy which turns out to be fulfilled.

Francis, along with his girlfriend Jane, investigate Caligari and Cesare, which eventually leads to Jane's kidnapping by Cesare. Caligari orders Cesare to kill Jane, but the hypnotized slave relents after her beauty captivates him. He carries Jane out of her house, leading the townsfolk on a lengthy chase. Francis discovers Caligari is the head of the local insane asylum, and with the help of his colleagues discovers he's obsessed with the story of a previous Doctor Caligari, who used a somnambulist to murder people as a traveling act.

Cesare falls to his death during the pursuit and the townsfolk discover that Caligari had created a dummy of Cesare to distract Francis. After being confronted with the dead Cesare, Caligari breaks down and reveals his mania and is imprisoned in his asylum. The influential twist ending reveals that Francis' flashback is actually his fantasy: Caligari is his asylum doctor, who, after this revelation of his patient's delusion, claims to be able to cure him.

Responses

Critics worldwide have praised the film for its Expressionist style, complete with wild, distorted set design—a striking use of mise en scène. Caligari has been cited as an influence on film noir, one of the earliest horror films, and a model for directors for many decades, including Alfred Hitchcock.

Siegfried Kracauer's From Caligari to Hitler (1947) postulates that the film can be read as an allegory for German social attitudes in the period preceding World War II. He argues that the character of Caligari represents a tyrannical figure, to whom the only alternative is social chaos (represented by the fairground). However, Kracauer's work has been largely discredited by contemporary scholars of German cinema, for example by Thomas Elsaesser in Weimar Cinema and After, who describes the legacy of Kracauer's work as a "historical imaginary". Elsaesser claims that Kracauer studied too few films to make his thesis about the social mindset of Germany legitimate and that the discovery and publication of the original screenplay of The Cabinet of Dr. Caligari undermines his argument about the revolutionary intent of its writers. Elsaesser's alternative thesis is that the filmmakers adopted an Expressionist style as a method of product differentiation, establishing a distinct national product against the increasing import of American films. Dietrich Scheunemann, somewhat in defense of Kracauer, noted that he didn't have "the full range of materials at (his) disposal". However, that fact "has clearly and adversely affected the discussion of the film", referring to the fact that the script of Caligari wasn't rediscovered until 1977 and that Kracauer hadn't seen the film in around 20 years when he wrote the work.

The cult film par excellence

The Cabinet of Dr. Caligari, "the cult film par excellence," which ran continuously at the same Paris movie house from 1920 through 1927. --Midnight Movies (1983). page 23.




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