The Cabinet of Dr. Caligari [SEP] screenwriter
The Cabinet of Dr. Caligari


producer Robert Lippert acquired the rights to "Caligari" from Matray and Universum Film AG for $50,000, and produced a film called "The Cabinet of Caligari", which was released in 1962. Screenwriter Robert Bloch did not intend to write a "Caligari" remake, and in fact the title was forced upon his untitled screenplay by director Roger Kay. The film had few similarities to the original "Caligari" except for its title and a plot twist at the end, in which it is revealed the story was simply
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The Cabinet of Dr. Caligari


responsible for the costumes. Robinson noted the costumes in "Caligari" seem to resemble a wide variety of time periods. For example, Dr. Caligari and the fairground workers' costumes resemble the Biedermeier era, while Jane's embody Romanticism. Additionally, Robinson wrote, Cesare's costume and those of policemen in the film appear abstract, while many of the other characters seem like ordinary German clothes from the 1920s. The collaborative nature of the film's production highlights the importance that both screenwriters and set designers held in German cinema of
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The Cabinet of Dr. Caligari


modernist art, comparing the film's sets to Marcel Duchamp's "Nude Descending a Staircase, No. 2", and said the film "gives dimensions and meaning to shape, making it an active part of the story, instead of merely the conventional and inert background", which was key to the film's "importance as a work of cinematography". Albert Lewin, a critic who eventually became a film director and screenwriter, called "Caligari" "the only serious picture, exhibited in America so far,
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The Cabinet of Dr. Caligari


believes she is a queen, while Cesare is not a somnambulist but awake, quiet, and not visibly dangerous. The man Francis considers as "Dr. Caligari" is the asylum director. Francis attacks him and is restrained in a straitjacket, then placed in the same cell where Dr. Caligari was confined in Francis' story. The director announces that now he understands Francis' delusion. As such, he is confident he can cure him. "The Cabinet of Dr. Caligari" was written by Hans Janowitz and Carl Mayer,
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The Cabinet of Dr. Caligari


, theatre director Peter Sellars released his only feature film, "The Cabinet of Dr. Ramirez", an experimental film loosely based on "Caligari". However, the storyline was created as the film was being made, so it has few similarities with the original film. The film was screened only at the 1992 Sundance Film Festival and never theatrically released. In 1999 Joseph Kahn and Rob Zombie directed a music video for the single "Living Dead Girl" with imagery directly inspired by "The Cabinet of Dr. Caligari".
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Dr. Caligari (film)


Dr. Caligari is a 1989 American avant-garde horror erotic film co-written and directed by Stephen Sayadian and starring Madeleine Reynal, Laura Albert, Gene Zerna, David Parry, Fox Harris and Jennifer Balgobin. It is a semi-sequel to the 1920 film "The Cabinet of Dr. Caligari". The film details a disturbed doctor (the granddaughter of the original Dr. Caligari) and her illegal experiments on her patients. Originally, and briefly, billed as "Dr. Caligari 3000" when it debuted at select theaters in
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The Cabinet of Caligari


The Cabinet of Caligari is a 1962 American horror film by , starring Glynis Johns, Dan O'Herlihy, and Richard Davalos, and released by 20th Century Fox. Although the film has a title that is very similar to that of the acclaimed silent horror film "The Cabinet of Dr. Caligari" (1920), it shares very few similarities except for the main plot twist. The film is notable for a script written by Robert Bloch, author of the novel "Psycho". The cinematographer for "The Cabinet of Caligari"
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Horror film


"Das Cabinet des Dr. Caligari" ("The Cabinet of Dr. Caligari") became a worldwide success and had a lasting impact on the film world, particularly for horror. It was not so much the story but the style that made it distinguishable from other films, ""Dr. Caligari"'s settings, some simply painted on canvas backdrops, are weirdly distorted, with caricatures of narrow streets, misshapen walls, odd rhomboid windows, and leaning doorframes. Effects of light and shadow were rendered by painting black lines
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The Cabinet of Dr. Caligari (2005 film)


The Cabinet of Dr. Caligari is a 2005 American horror film directed by David Lee Fisher who also co-wrote the film's screenplay, and is a remake of the 1920 silent film of the same name. It was released in the U.S. at the ScreamFest Film Festival on October 22, where it won three prizes: the Audience Choice Award, Best Cinematography and Best Special Effects. The plot is largely similar to that of the original film with extra dialogue scenes. The film tells the story of the deranged Dr. Caligari and
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The Cabaret of Dr Caligari


Dr Caligari's nightclub, catching up with them in a suitably ironic way. The title of the series is a reference to the German Expressionist film "The Cabinet of Dr. Caligari" (1920). This has caused confusion for some listings sites, and some radio presenters have stumbled when introducing it. A previous use of "The Cabaret of Dr Caligari" was in "The Sandman" No.17, Calliope, 1989, in which it is a novel. It was originally created as a late night live show created for
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The Cabinet of Dr. Caligari


Warm, who designed the film's sets, said Mayer had no political intentions when he wrote the film. Film historian David Robinson noted Janowitz did not refer to anti-authority intentions in the script until many decades after "Caligari" was released, and he suggested Janowitz's recollection may have changed in response to later interpretations to the film. The film they wrote was entitled "Das Cabinet des Dr. Caligari", using the English spelling "Cabinet" rather than the German "Kabinett". The completed script contained 141
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The Cabinet of Dr. Caligari


called for the clerk to be "impatient". He is far more abusive in the scene as it was filmed, and is perched atop an exaggeratedly high bench that towers over Dr. Caligari. Another deviation from the script comes when Dr. Caligari first awakens Cesare, one of the most famous moments in the film. The script called for Cesare to gasp and struggle for air, then shake violently and collapse in Dr. Caligari's arms. As it was filmed, there is no such physical struggling, and instead the camera zooms
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The Cabinet of Dr. Caligari


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. Upon Dr.
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The Cabinet of Dr. Caligari


lacks any individuality and is simply a tool of his master; Barlow writes that he is so dependent on Caligari that he falls dead when he strays too far from the source of his sustenance, "like a machine that has run out of fuel". In his influential book "From Caligari to Hitler", Kracauer argues the Dr. Caligari character is symptomatic of a subconscious need in German society for a tyrant, which he calls the German "collective soul". Kracauer argues Dr. Caligari and Cesare are premonitions of Adolf Hitler
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The Cabinet of Dr. Caligari


Caligari" in their 1994 "Guide to the Greatest Movies Ever Made", calling it a "landmark silent film" and saying, "No other film's art direction has ever come up with so original a visualization of dementia". It holds a rare 100% rating on Rotten Tomatoes based on 50 reviews, with a weighted average of 9.28/10. The site's critics' consensus states: "Arguably the first true horror film, "The Cabinet of Dr. Caligari" set a brilliantly high bar for the genre --
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The Cabinet of Dr. Caligari


"Caligari". Dr. Caligari is portrayed in the main narrative as an insane tyrant, and in the frame story as a respected authority and director of a mental institution. As a result of this duality, the viewer cannot help but suspect a malevolent aspect of him at the conclusion of the film, even despite all evidence indicating he is a kind and caring man. Even within the main narrative alone, Dr. Caligari lives a double life: holding a respectable position as the asylum director, but becoming a hypnotist and
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The Cabinet of Dr. Caligari


described Dr. Caligari as an example of the tyrannical power and authority that had long plagued Germany, while Cesare represents the "common man of unconditional obedience". Janowitz has claimed Cesare represents the common citizen who is conditioned to kill or be killed, just as soldiers are trained during their military service, and that Dr. Caligari is symbolic of the German government sending those soldiers off to die in the war. The control Dr. Caligari yields over the minds and actions of others results in chaos and both moral and social perversion. Cesare
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The Cabinet of Dr. Caligari


, who becomes his Cesare. The director screams, "I must become Caligari!" Francis and the doctors call the police to Dr. Caligari's office, where they show him Cesare's corpse. Dr. 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
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The Cabinet of Dr. Caligari


the delusion of the protagonist, who believed she was being held captive by a character named Caligari. Instead, he was her psychiatrist, and he cures her at the end of the film. A quasi-sequel, called "Dr. Caligari", was released in 1989, directed by Stephen Sayadian and starring Madeleine Reynal as the granddaughter of the original Dr. Caligari, now running an asylum and performing bizarre hormonal experiments on its patients. The sex-driven story ultimately had little in common with the original film. In 1992
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The Cabinet of Dr. Caligari (2005 film)


an illusion of Cesare to distract him. Francis discovers that "Caligari" is the head of the local insane asylum, and with the help of his colleagues discovers that he is obsessed with the story of a medieval Dr. Caligari, who used a somnambulist to murder people as a traveling act. After being confronted with the dead Cesare, Caligari breaks down, reveals his mania and is imprisoned in his own asylum. The "twist ending" reveals that Francis' flashback is his fantasy: The man he claims is Caligari is
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The Cabinet of Dr. Caligari


final film's version does. Many details about the making of "The Cabinet of Dr. 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. Production of the film was delayed about four or five months after the script was purchased. Pommer originally chose Lang as the director of "Caligari", and Lang even went so far as to hold preparatory discussions about the
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The Cabinet of Dr. Caligari


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 18th-century mystic named 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
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The Cabinet of Dr. Caligari


but the project never came to fruition. Later, Janowitz planned a sequel called "Caligari II", and unsuccessfully attempted to sell the property to a Hollywood producer for $30,000. Around 1947, Hollywood agent Paul Kohner and German filmmaker Ernst Matray also planned a "Caligari" sequel; Matray and his wife Maria Solveg wrote a screenplay called "The Return of Caligari". That script would have reimagined Dr. Caligari as a former Nazi officer and war criminal, but the film was never produced. In 1960, independent Hollywood
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The Cabinet of Dr. Caligari


who have no mind of their own and must follow the paths of others; Kracauer wrote he foreshadows a German future in which "self-appointed Caligaris hypnotized innumerable Cesares into murder". Barlow rejects Kracauer's claims that the film glorifies authority "just because it has not made a preachy statement against it", and said the connection between Dr. Caligari and Hitler lies in the mood the film conveys, not an endorsement of such tyrant on the film's part. Everyday reality in "Caligari" is dominated by tyrannical aspects
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Dr. Caligari (film)


The Cabinet of Dr. Caligari"); thus the patient becomes the doctor, the doctor becomes the patient and the inmates are left running the asylum. The "Los Angeles Times" wrote "One of the kinkiest artifacts ever to come out of Orange County has to be the movie "Dr. Caligari."" The film was selected as an opening-night feature at the Toronto Festival of Festivals. The E! Entertainment Television segment "Attack of the Killer Bs" called it one of the best Killer B art films
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The Cabinet of Dr. Caligari


scenes. Janowitz has claimed the name "Caligari", which was not settled upon until after the script was finished, was inspired by a rare book called ‘’Unknown Letters of Stendhal'’, which featured a letter from the French novelist Stendhal referring to a French officer named Caligari he met at the La Scala theatre in Milan. However, no record of any such letter exists, and film historian John D. Barlow suggested Janowitz may have fabricated the story. The physical appearance of Dr. Caligari was inspired by portraits of
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The Cabinet of Dr. Caligari


film director who had a lucky fluke with Caligari". "Caligari", like a number of Weimar films that followed it, thematizes brutal and irrational authority by making a violent and possibly insane authority figure its antagonist. Kracauer said Dr. Caligari was symbolic of the German war government and fatal tendencies inherent in the German system, saying the character "stands for an unlimited authority that idolizes power as such, and, to satisfy its lust for domination, ruthlessly violates all human rights and values". Likewise, John D. Barlow
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The Cabinet of Dr. Caligari


as they embrace it. A contrast between levels of reality exists not only in the characterizations, but in the presentation of some of the scenes as well. This, as Barlow writes, "reveals a contrast between external calm and internal chaos". For example, flashback scenes when Francis reads Dr. Caligari's diary, in which the doctor is shown growing obsessed with learning hypnotic powers, take place as Dr. Caligari is sleeping peacefully in the present. Another example is the fair, which on the surface appears to represent fun
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The Cabinet of Dr. Caligari


and escapism, but reveals a lurking sense of chaos and disaster in the form of Dr. Caligari and Cesare. The visual elements of the film also convey a sense of duality, particularly in the contrasts between black and white. This is particularly prevalent in the sets, where black shadows are set against white walls, but also in other elements like the costumes and make-up. For instance, Dr. Caligari wears mostly black, but white streaks are present in his hair and on his gloves. Cesare's face is a
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The Cabinet of Dr. Caligari


clerk, who brushes him off and ignores him to focus on his paperwork. Film historian Thomas Elsaesser argues that Dr. Caligari's murderous rampage through Cesare can be seen as a rebellious, anti-authoritarian streak in response to such experiences as these, even in spite of his own authoritarianism. The Expressionistic set design in this scene further amplifies the power of the official and the weakness of his supplicant; the clerk towers in an excessively high chair over the small and humiliated Dr. Caligari. The scene represents class and status differences,
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The Cabinet of Dr. Caligari


(Soprano) - were cast as Dr. Caligari/Dr. Gallacher and Jane respectively alongside Daniel Keating Roberts (Counter-tenor) as Cesare and Glen Cunningham (Tenor) as Francis with members of the Chorus providing additional roles. 2016 saw also the publishing of a DVD by Cineteca di Bologna with 2 new soundtracks by Edison Studio (in surround sound 5.1) and Timothy Brock (for Brussels Philarmonic Orchestra) on a new restored version of Caligari movie. The first live performance of the soundtrack by Edison Studio had taken place
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Imprisoned Soul


Imprisoned Soul () is a German silent drama film of 1917 directed by Rudolf Biebrach and starring Henny Porten, Paul Bildt, and Curt Goetz. A young woman, Violetta, falls under the hypnotic power of the villainous Baron von Groot. A young physician tries to rescue her from his clutches. She is finally released from Groot's power when he is found shot dead. The film's theme of hypnotic domination is very similar to that of "The Cabinet of Dr. Caligari" (1919) which the screenwriter Weine was
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The Cabinet of Dr. Caligari


Imagine Film Festival accompanied with a live soundtrack, composed and performed by the Dutch psychedelic band Monomyth. In 1981, Bill Nelson was asked by the Yorkshire Actors Company to create a soundtrack for a stage adaptation of the film. That music was later recorded for his 1982 album "Das Kabinet (The Cabinet Of Doctor Caligari)". "Caligari" was adapted into an opera in 1997 by composer John Moran. It premiered at the American Repertory Theater in Cambridge, Massachusetts, in a production by Robert McGrath. Numerous musicians
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The Cabinet of Dr. Caligari


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. Dr. Caligari escapes in the confusion. Francis follows
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The Cabinet of Dr. Caligari


Pommer later said: "They saw in the script an 'experiment'. I saw a relatively cheap film". "The Cabinet of Dr. Caligari" makes use of a "Rahmenerzählung", or frame story; a prologue and epilogue establish the main body of the film as a delusional flashback, a novel technique. Lang has said that, during early discussions about his possible involvement with the film, he suggested the addition of an opening scene with a "normal" style, which would lead the public into the
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Elsa Wagner


", she went on to secure roles in more than 140 feature films, including Robert Wiene's "Das Cabinet Des Dr. Caligari" ("The Cabinet of Dr. Caligari") and Karl Heinz Martin's "Von Morgens bis Mitternachts" (From Morn to Midnight) in 1920, F. W. Murnau's 1922 "Das Brennende Acker" ("The Burning Earth"), Gerhard Lamprecht's "Die Buddenbrooks" and Wiene's I.N.R.I. in 1923, and E. R. Dupont's 1929 "Atlantik". Wagner died in
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Horror film


of narrative film. Writing for the book "1001 Movies You Must See Before You Die", horror film critic Kim Newman called "The Cabinet of Dr. Caligari" "a major early entry in the horror genre, introducing images, themes, characters, and expressions that became fundamental to the likes of Tod Browning's "Dracula" and James Whales' "Frankenstein", both from 1931". "The Cabinet of Dr. Caligari" is also a leading example of what a German Expressionist film looks like. In October
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The Cabinet of Dr. Caligari


of Adolf Hitler and the Nazi Party, and says the addition of the frame story turns an otherwise "revolutionary" film into a "conformistic" one. 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
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The Cabinet of Dr. Caligari


sit facing each other at their desks and move with exaggerated symmetry, and two servants who awaken and rise from their beds in perfect synchronization. Vincent LoBrutto said of the acting in the film: Shooting for "The Cabinet of Dr. Caligari" began at the end of December 1919 and concluded at the end of January 1920. It was shot entirely in a studio without any exterior shots, which was unusual for films of the time, but dictated by the decision to give the film an Expressionist visual style. The extent to
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The Cabinet of Dr. Caligari


and not the figures themselves. Lighting techniques like this became frequently used in later German films. The visual style of "The Cabinet of Dr. Caligari" is dark, twisted and bizarre; radical and deliberate distortions in perspective, form, dimension and scale create a chaotic and unhinged appearance. The sets are dominated by sharp-pointed forms and oblique and curving lines, with narrow and spiraling streets, and structures and landscapes that lean and twist in unusual angles, giving the impression they could collapse or explode at any given moment
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The Cabinet of Dr. Caligari


. "Caligari" continues to be one of the most discussed and debated films from the Weimar Republic. Two major books have played a large part in shaping the perception of the film and its effect on cinema as a whole: Siegfried Kracauer's "From Caligari to Hitler" (1947) and Lotte Eisner's "The Haunted Screen" (1974). "From Caligari to Hitler" based its claims about the film largely on an unpublished typescript by Hans Janowitz called "Caligari: The Story of a Famous Story"
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The Cabinet of Dr. Caligari


Paul Wegener could have played the part. The parts of Dr. Caligari and Cesare ultimately went to Krauss and Conrad Veidt, respectively, who enthusiastically took part in many aspects of the production. Krauss suggested changes to his own make-up and costumes, including the elements of a top hat, cape, and walking stick with an ivory handle for his character. The actors in "Caligari" were conscious of the need to adapt their make-up, costumes, and appearance to match the visual style of the film.
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The Cabinet of Dr. Caligari


no room for middle ground between these two extremes, and that viewers are forced to embrace either insanity or authoritarian rigidity, leaving little space for human freedom. Kracauer writes: ""Caligari" exposes the soul wavering between tyranny and chaos, and facing a desperate situation: any escape from tyranny seems to throw it into a state of utter confusion". Dr. Caligari is not the only symbol of arrogant authority in the film. In fact, he is a victim of harsh authority himself during the scene with the dismissive town
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The Cabinet of Dr. Caligari


feelings that he is a victim under the spell of the all-powerful asylum director, just as Cesare is the hypnotized victim of Dr. Caligari. The Cesare character serves as both a persecutor and a victim, as he is both a murderer and the unwilling slave of an oppressive master. Siegfried Kracauer said by coupling a fantasy in which Francis overthrows a tyrannical authority, with a reality in which authority triumphs over Francis, "Caligari" reflects a double aspect of German life, suggesting they reconsider their traditional belief in authority even
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Conrad Wiene


Conrad Wiene (born 3 February 1878 – after May 1934) was an actor, screenwriter, film producer and director of Austrian and German silent film. He was a younger brother of German film director Robert Wiene ("The Cabinet of Dr. Caligari"). Conrad Wiene was born in Vienna, younger son of the successful actor Carl Wiene, in whose footsteps Conrad initially followed as a stage and screen actor. He co-directed his first films with his older brother Robert, and later made almost twenty feature films,
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The Cabinet of Dr. Caligari


The Cabinet of Dr. Caligari () is a 1920 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
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Only Lovers Left Alive


Gatsby"). On his two visits to Dr. Watson (Jeffrey Wright) Adam's name tags show "Dr. Faust" (from the German legend of Faust, from which Marlowe wrote the play "The Tragical History of the Life and Death of Doctor Faustus") and "Dr. Caligari" (an homage to the German silent movie "The Cabinet of Dr. Caligari"). At the first visit, Watson calls him "Dr. Strangelove", which serves as a reference to the eponymous character in Stanley Kubrick's
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The Cabinet of Dr. Caligari (2005 film)


his faithful sleepwalking Cesare and their connection to a string of murders in a German mountain village, Holstenwall. The movie features a "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
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The Cabinet of Dr. Caligari


, who recommended a fantastic, graphic style over a naturalistic one. The film thematizes brutal and irrational authority; Dr. 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 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
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The Cabinet of Dr. Caligari


book "From Caligari to Hitler", Siegfried Kracauer argued, based largely on an unpublished typescript written and provided by Janowitz, that the film originally included no frame story and started with the fair coming to town and ended with Dr. Caligari becoming institutionalized. Kracauer argued the frame story glorified authority and was added to turn a "revolutionary" film into a "conformistic" one. (See the Themes section for more.) No surviving copies of the script were believed to exist until the early 1950s when actor Werner Krauss revealed
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The Cabinet of Dr. Caligari


influences on "Caligari". Janowitz originally intended the part of Cesare to go to his friend, actor Ernst Deutsch. Mayer wrote the part of Jane for Gilda Langer, but by the time the film was cast Langer's interests had moved on from Janowitz and Mayer to director Paul Czinner, leaving the role to be played by Lil Dagover. Janowitz claimed he wrote the part of Dr. Caligari specifically for Werner Krauss, whom Deutsch had brought to his attention during rehearsals for a Max Reinhardt play; Janowitz said only Krauss or
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Hans Heinrich von Twardowski


Hans Heinrich von Twardowski (5 May 1898 – 19 November 1958) was a German film actor. Twardowski was born in Stettin, Germany (now Szczecin in Poland). He made his first film appearance in the 1920 Robert Wiene-directed horror movie "Das Cabinet des Dr. Caligari" ("The Cabinet of Dr. Caligari") which starred Conrad Veidt, Werner Krauss and Lil Dagover. He would go on to appear in over 20 movies in Weimar Germany during the 1920s. In 1921, Twardowski portrayed Joshua Nesbitt,
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The Cabinet of Dr. Caligari


the 1920s, although film critic Lotte H. Eisner said sets held more importance than anything else in German films at that time. "The Cabinet of Dr. Caligari" was the first German Expressionist film, although Brockmann and film critic Mike Budd claims it was also influenced by German Romanticism; Budd notes the film's themes of insanity and the outcry against authority are common among German Romanticism in literature, theatre and the visual arts. Film scholar Vincent LoBrutto said the theatre of Max Reinhardt and the artistic style of Die Brücke were additional
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From Caligari to Hitler


within the German social politics. In the book, Kracauer postulates the film "The Cabinet of Dr. Caligari" can be considered as an allegory for German social attitudes in the period following World War I. He argues that the character of Caligari represents a tyrannical figure, to whom the only alternative is social chaos represented by the fairground. Funded by Museum of Modern Art as well as a Rockefeller Foundation grant, "From Caligari to Hitler" is considered to be among the most important works on the subject of German cinema, standing
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The Cabinet of Dr. Caligari


due to demonstrations by protestors. However, the protest was organized by the Hollywood branch of the American Legion due to fears of unemployment stemming from the import of German films into America, not over objections to the content of "Caligari" itself. After running in large commercial theatres, "Caligari" began to be shown in smaller theatres and film societies in major cities. Box office figures were not regularly published in the 1920s, so it has been difficult to assess the commercial success or failure of "Caligari" in the
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The Cabinet of Dr. Caligari


Caligari" and German Expressionism heavily influenced the American film noir period of the 1940s and 50s, both in visual style and narrative tone. Noir films tended to portray everyone, even the innocent, as the object of suspicion, a common thread in "Caligari". The genre also employs several Expressionistic elements in its dark and shadowy visual style, stylized and abstract photography, and distorted and expressive make-up and acting. "Caligari" also influenced films produced in the Soviet Union, such as "Aelita" (1924
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The Cabinet of Dr. Caligari


able to target both the elite artistic market as well as a more commercial horror genre audience. The film was marketed extensively leading up to the release, and advertisements ran even before the film was finished. Many posters and newspaper advertisements included the enigmatic phrase featured in the film, "Du musst Caligari werden!", or "You must become Caligari!" "Caligari" premiered at the Marmorhaus theatre in Berlin on 26 February 1920, less than one month after it was completed. The filmmakers were so nervous about the
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The Cabinet of Dr. Caligari


, which gave Janowitz and Carl Mayer principal credit for the making of "Caligari". Mike Budd wrote of Kracauer's book: "Perhaps no film or period has been so thoroughly understood through a particular interpretation as has "Caligari", and Weimar cinema generally, through Kracauer's social-psychological approach". Prior to the publication of "From Caligari to Hitler", few critics had derived any symbolic political meaning from the film, but Kracauer’s argument that it symbolized German obedience toward authority and a premonition of the
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The Cabinet of Dr. Caligari


film and war experiences, noting that Cesare attacked Alan at dawn, a common time for attacks during the war. Thomas Elsaesser called Caligari an "outstanding example of how "fantastic" representations in German films from the early 1920s seem to bear the imprint of pressures from external events, to which they refer only through the violence with which they disguise and disfigure them." Several unsuccessful attempts were made to produce sequels and remakes in the decades following "Caligari"'s release. Robert Wiene bought the rights to "Caligari"
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The Cabinet of Dr. Caligari


antagonist using Caligari-like supernatural abilities to control others, such as "Dracula" (1931), "Svengali" (1931) and "The Mad Genius" (1931). Kaes said both "Caligari"'s stylistic elements, and the Cesare character in particular, influenced the Universal Studios horror films of the 1930s, which often prominently featured some sort of monster, such as "Frankenstein" (1931), "The Mummy" (1932), "The Black Cat" (1934), and "
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The Cabinet of Dr. Caligari


, and said "Caligari" "served to attract to the cinema audience many people who had hitherto regarded the film as the low watermark of intelligence". "Caligari" influenced the style and content of Hollywood films in the 1920s and early 1930s, particularly in films such as "The Bells" (1926), "The Man Who Laughs" (1928) and "Murders in the Rue Morgue" (1932), and had a major influence on American horror films of the 1930s, some of which featured an
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The Cabinet of Dr. Caligari


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
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The Cabinet of Dr. Caligari (2005 film)


, 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 refuses after her beauty captivates him. He carries Jane out of her house, leading Jane's father and brother on a chase. Cesare is stabbed to death after being pursued by Jane's brother, and Francis discovers that Caligari had created
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The League of Extraordinary Gentlemen, Volume One


mentions Hallward's mysterious disappearance, which is a reference to a part of the novel where Dorian Gray, upset that Hallward found out about the fate of his artwork, kills Hallward and has a friend dispose of the body, leaving no trace of evidence. The blurb for the second version of the drawing also mentions failed attempts at a paint-by-numbers by Richard Pickman (of "Pickman's Model") and a cabinet-making kit by Caligari (of "The Cabinet of Dr. Caligari"). A
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The Cabinet of Dr. Caligari


Delluc organized a single screening of it on 14 November 1921, at the Colisée cinema in Paris as part of a benefit performance for the Spanish Red Cross. Afterward, the Cosmograph company bought the film's distribution rights and premiered it at the Ciné-Opéra on 2 March 1922. "Caligari" played in one Paris theatre for seven consecutive years, a record that remained intact until the release of "Emmanuelle" (1974). According to Janowitz, "Caligari" was also shown in such European cities as London,
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The Cabinet of Dr. Caligari


, while also bringing legitimacy to the cinema among literary intellectuals within Germany itself. Lotte Eisner has said it was in Expressionism, as epitomized in "Caligari", that "the German cinema found its true nature." The term "caligarism" was coined as a result, referring to a style of similar films that focus on such themes as bizarre madness and obsession, particularly through the use of visual distortion. Expressionism was late in coming to cinema, and by the time "Caligari" was released, many German critics
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The Cabinet of Dr. Caligari


, making teamwork a hallmark of German cinema in the Weimar Republic. The effect of "Caligari" was felt not just in German cinema, but internationally as well. Both Rotha and film historian William K. Everson wrote that the film probably had as much of a long-term effect on Hollywood directors as "Battleship Potemkin" (1925). In his book "The Film Til Now", Rotha wrote that "Caligari" and "Potemkin" were the "two most momentous advances in the development of the cinema"
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The Cabinet of Dr. Caligari


Bride of Frankenstein" (1935). The Expressionism of "Caligari" also influenced American avant-garde film, particularly those that used fantastic settings to illustrate an inhuman environment overpowering an individual. Early examples include "The Fall of the House of Usher" (1928), "The Last Moment" (1928) and "" (1928). LoBrutto wrote, "Few films throughout motion picture history have had more influence on the avant-garde, art, and student cinema than "Caligari"". "
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The Cabinet of Dr. Caligari


was released by Blackstone Audio in 2013. In 2008, BBC Radio 3 broadcast an audio adaptation by Amanda Dalton entitled "Caligari", starring Tom Ferguson as "Franzis", Luke Treadaway as "Allan", Sarah McDonald Hughes as "Jane", countertenor Robin Blaze as "Cesare" and Terence Mann as "The Town Clerk" (doubling as the voice of "The Director" of the mental asylum, Caligari being an entirely silent character in this production). In 2015 Delhi-based theatre director and scenographer
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The Cabinet of Dr. Caligari


to be going nowhere, such as the merry-go-round at the fair, moving at a titled angle that makes it appear at risk of collapsing. Other elements of the film convey the same visual motifs as the sets, including the costumes and make-up design for Dr. Caligari and Cesare, both of which are highly exaggerated and grotesque. Even the hair of the characters is an Expressionistic design element, especially Cesare's black, spiky, jagged locks. They are the only two characters in the film with
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The Cabinet of Dr. Caligari


murderer at night. Additionally, the character is actually a double of the "real" Caligari, an 18th-century mystic whom the film character becomes so obsessed with that he desires to penetrate his innermost secrets and "become Caligari". Francis also takes on a double life of sorts, serving as the heroic protagonist in the main narrative and a patient in a mental institution in the frame story. Anton Kaes described the story Francis tells as an act of transference with his psychiatrist, as well as a projection of his
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The Cabinet of Dr. Caligari


-series was later released complete in graphic-novel format as "Caligari 2050: Another Sleepless Night". In 1998, an audio adaptation of the film written and directed by Yuri Rasovsky was released by Dove Audio on audio cassette. With a cast including John de Lancie as "Franz"/"Francis", Tony Jay as Caligari, Kaitlin Hopkins as "Anna"/"Jane" and Robertson Dean as "Karl"/"Alan", this dramatization won the Independent Publishers Award for Best Direct-to-Audio Production in 1998. An audio CD of this production
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History of film


with a cut to the character just before they finish speaking, then one had something that was effectively the equivalent of a present-day sound film. [[Image:CABINET DES DR CALIGARI 01.jpg|thumb|left|250px|The visual style of "[[The Cabinet of Dr. Caligari]]" included deliberately distorted forms, and shadows and streaks of light painted directly onto the sets. It uses [[Mise-en-scène]]]] The years of the [[First World War]] were a complex transitional period for the
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The Cabinet of Dr. Caligari


, and in the case of the film's characters represents an emotional response to the terror of society that Dr. Caligari and Cesare represent. Often in the film, set pieces are emblematic of the emotional state of the characters in the scene. For example, the courtyard of the insane asylum during the frame story is vastly out of proportion. The characters seem too big for the small building, and the courtyard floor features a bizarre pattern, all of which represent the patients' damaged frames of mind. Likewise, the scene
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The Cabinet of Dr. Caligari


as, in Barlow's words, "abstractions of social fears, the incarnations of demonic forces of a nightmarish world the bourgeoisie was afraid to acknowledge, where self-assertion is pushed to willful and arbitrary power over others". Kracauer wrote the film demonstrates a contrast between the rigid control, represented by such characters as Dr. Caligari and the town clerk, and chaos, represented by the crowds of people at the fair and the seemingly never-ending spinning of the merry-go-rounds. He said the film leaves
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The Cabinet of Dr. Caligari


says this suggests a "dream logic of repetition" that throws further confusion on which perspective is reality. The question of perspective turns in Dr Caligari into a question of worldview since, beyond Francis' individual circumstances, the film was written by pacifists who were opposed to what Eisner described as the willingness of Germans to commit themselves to the dark forces, such as demoniac magic and supernatural powers, that led to death on the battlefield. Although it is not possible to reduce the narrative or the film to the beliefs of its
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The Cabinet of Dr. Caligari


space, including a procession of gypsies, a handcart pushed by Dr. Caligari, Jane's carriage, and a chase scene involving horse-cabs. Likewise, the script called for a fairground scene with roundabouts, barrel organs, sideshow barkers, performers and menageries, none of which could be achieved in the restrictive space. Instead, the scenes use a painting of the Holstenwall town as a background; throngs of people walk around two spinning merry-go-round props, which creates the impression of a carnival. The script
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The Cabinet of Dr. Caligari


and his rule over Germany, and that his control over the weak-willed, puppet-like somnambulist prefigures aspects of the mentality that allowed the Nazi Party to rise. He calls Dr. Caligari's use of hypnotism to impose his will foreshadowing of Hitler's "manipulation of the soul". Kracauer described the film as an example of Germany's obedience to authority and failure or unwillingness to rebel against deranged authority, and reflects a "general retreat" into a shell that occurred in post-war Germany. Cesare symbolizes those
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The Cabinet of Dr. Caligari


mind". The film serves as a reminder that any story told through a flashback subjectivizes the story from the perspective of the narrator. At the end of the film, the asylum director gives no indication that he means Francis ill will, and in fact he seems to truly care for his patients. But Francis nevertheless believes he is being persecuted, so in the story as told from his perspective, Dr. Caligari takes on the role of persecutor. However, the Expressionistic visual elements of the film are present not only in
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The Cabinet of Dr. Caligari


of the film, with an iris that fades to a close-up on the asylum director's face, further creates doubt over whether the character is actually sane and trustworthy. As Brockmann writes, "In the end, the film is not just about one unfortunate madman; it is about an entire world that is possibly out of balance". Mike Budd notes that, during the scene in which asylum doctors restrain Francis, his movements closely mimic those of Dr. Caligari from a similar scene during the main story. Budd
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The Cabinet of Dr. Caligari


script with Janowitz, but he became unavailable due to his involvement with the filming of "The Spiders", so Wiene was selected instead. According to Janowitz, Wiene's father, a successful theatre actor, had "gone slightly mad when he could no longer appear on the stage", and Janowitz believed that experience helped Wiene bring an "intimate understanding" to the source material of "Caligari". Decla producer Rudolf Meinert introduced Hermann Warm to Wiene and provided Warm the "Caligari" script, asking him to come
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The Cabinet of Dr. Caligari


with Wiene on several other films. The camera does not play a large part in "Caligari", and is used primarily to show the sets. The cinematography tends to alternate only between medium shots at straight-on angles and abrupt close-ups to create a sense of shock, but with few long shots or panning movement. Likewise, there is very little interscene editing. Most scenes follow the other without intercutting, which gives "Caligari" a more theatrical feel than a cinematic one. Heavy lighting is typically absent
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The Cabinet of Dr. Caligari


. Kracauer said critics were "unanimous in praising "Caligari" as the first work of art on the screen", but also said it was "too high-brow to become popular in Germany". Barlow said it was often the subject of critical disapproval, which he believes is because early film reviewers attempted to assign fixed definitions to the young art of cinema, and thus had trouble accepting the bizarre and unusual elements of "Caligari". Some critics felt it imitated a stage production too closely. Other commentators,
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The Cabinet of Dr. Caligari


and remains terrifying nearly a century after it first stalked the screen." "Caligari" is considered the quintessential work of German Expressionist cinema, and by far the most famous example of it. It is considered a classic film, often shown in introductory film courses, film societies and museums, and is one of the most famous German films from the silent era. Film scholar Lewis Jacobs called it "most widely discussed film of the time". "Caligari" helped draw worldwide attention to the artistic merit of German cinema
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The Cabinet of Dr. Caligari


felt the art form had become commercialized and trivialized; such well-known writers as Kasimir Edschmid, René Schickele, and Yvan Goll had already pronounced the Expressionist movement dead by the time "Caligari" arrived in theatres. Few other purely Expressionistic films were produced, and "Caligari" was the only one readily accessible for several decades. Among the few films to fully embrace the Expressionist style were "Genuine" (1920) and "Raskolnikow" (1923), both directed by Wiene, as well as "From Morn
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The Cabinet of Dr. Caligari


), and "The Overcoat". Observers have noted the black and white films of Ingmar Bergman bear a resemblance to the German films of the 1920s, and film historian Roy Armes has called him "the true heir of Caligari". Bergman himself, however, has downplayed the influence of German Expressionism on his work. "Caligari" has also affected stage theatre. Siegfried Kracauer wrote that the film's use of the iris-in has been mimicked in theatrical productions, with lighting used to single out a lone actor
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Homicidal sleepwalking


Minds" titled "In The Dark," a serial killer suffers from this illness, killing multiple people during the night. The 1920 German horror film "The Cabinet of Dr. Caligari" centers upon a series of murders committed by a somnambulist under control of the eponymous Dr. Caligari. The 1932 American gentlemen jewel thief romantic heist comedy "Arsene Lupin" features numerous depictions of somnambulism, specifically sleepwalking both real and faked by various characters. The 1971 Italian thriller "A Lizard in a Woman's Skin" involves a woman who
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The Cabinet of Dr. Caligari


Caligari's orders, Cesare awakens and answers questions from the audience. Despite Francis's protests, Alan asks, "How long will I live?" To Alan's horror, Cesare answers, "Until dawn." Later that night, a figure breaks into Alan's home and stabs him to death in his bed. A grief-stricken Francis investigates Alan's murder with help from Jane and her father, Dr. Olsen (Rudolph Lettinger), who obtains police authorization to investigate the somnambulist. That night, the police
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The Cabinet of Dr. Caligari


. Authorities sit atop high perches above the people they deal with and hold offices out of sight at the end of long, forbidding stairways. Most of the film's characters are caricatures who fit neatly into prescribed social roles, such as the outraged citizens chasing a public enemy, the authoritarian police who are deferential to their superiors, the oft-harassed bureaucratic town clerk, and the asylum attendants who act like stereotypical "little men in white suits". Only Dr. Caligari and Cesare are atypical of social roles, instead serving
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The Cabinet of Dr. Caligari


and conveys the psychological experience of being simultaneously outraged and powerless in the face of a petty bureaucracy. Another common visual motif is the use of stairways to illustrate the hierarchy of authority figures, such as the multiple stairs leading up to police headquarters, and three staircases ascending to Dr. Caligari in the asylum. Francis expresses a resentment of all forms of authority, particularly during the end of the frame story, when he feels he has been institutionalized because of the madness of the authorities, not because there is anything wrong with him
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The Cabinet of Dr. Caligari


. Francis can be seen, at least within the main narrative, as a symbol of reason and enlightenment triumphing over the irrational tyrant and unmasking the absurdity of social authority. But Kracauer contended the frame story undermines that premise. He argues if not for the frame story, the tale of Francis's efforts against Dr. Caligari would have been a praiseworthy example of independence and rebellion against authority. However, with the addition of the frame story, which places the veracity of Francis's claims into question, Kracauer argues the film glorifies
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The Cabinet of Dr. Caligari


mouth." The Russian director Sergei Eisenstein especially disliked "Caligari", calling it a "combination of silent hysteria, partially coloured canvases, daubed flats, painted faces, and the unnatural broken gestures and action of monstrous chimaeras". While early reviews were more divided, modern film critics and historians have largely praised "Caligari" as a revolutionary film. Film reviewer Roger Ebert called it arguably "the first true horror film", and critic Danny Peary called it cinema's first cult film and a precursor for arthouse films
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The Cabinet of Dr. Caligari


rise of Adolf Hitler (see the Themes section for more) drastically changed attitudes about "Caligari". Many of his interpretations of the film are still embraced, even by those who have strongly disagreed with his general premise, and even as certain claims Kracauer made have been disproven, such as his statement that the original script included no frame story. (See Writing for more.) Eisner's book placed "Caligari" into historical context by identifying how it influenced Expressionist features in other films of the 1920s. Film historian
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The Cabinet of Dr. Caligari


David Robinson claimed Wiene, despite being the director of "Caligari", is often given the least amount of credit for its production. He believes this is in part because Wiene died in 1938, closer to the release of the film than any other major collaborators, and was therefore unable to defend his involvement in the work while others took credit. In fact, Robinson argues "Caligari" ultimately hurt Wiene's reputation because his subsequent films did not match its success, so he is often wrongly considered "a one-
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The Cabinet of Dr. Caligari


both of whom were pacifists by the time they met following World War I. Janowitz served as an officer during the war, but the experience left him embittered with the military, which affected his writing. Mayer feigned madness to avoid military service during the war, which led him to intense examinations from a military psychiatrist. The experience left him distrustful of authority, and the psychiatrist served as a model for the Dr. Caligari character. Janowitz and Mayer were introduced in June 1918 by a mutual friend, actor Ernst Deutsch. Both writers
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The Cabinet of Dr. Caligari


also made references to modern elements like telephones, telegrams and electric light, but they were eliminated during the filming, leaving the final film's setting with no indication of a specific time period. Several scenes from the script were cut during filming, most of which were brief time lapses or transitioning scenes, or title screens deemed unnecessary. One of the more substantial scenes to be cut involved the ghost of Alan at a cemetery. The scene with the town clerk berating Dr. Caligari deviated notably from the original script, which simply
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The Cabinet of Dr. Caligari


show premiered in February 2015 in Delhi. 2016 saw the production of another operatic version of Dr. Caligari composed by Karen MacIver for Scottish Opera's Connect Company with a libretto provided by Allan Dunn. This opera has the action set in Glasgow 1898. The first performances under the direction of Julie Brown took place on the 9th and 10 April 2016 in Glasgow's Woodside Halls featured the Scottish Opera Connect Orchestra and Chorus conducted by Chris Gray. Alumni from Scottish Opera's Emerging Artists Programme - Andrew McTaggart (Baritone) and Sarah Power
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The Cabinet of Dr. Caligari


the history of the cinema, the director has worked "through" the camera and broken with realism on the screen; that a film could be effective dramatically when not photographic and finally, of the greatest possible importance, that the mind of the audience was brought into play psychologically". Likewise, Arthur Knight wrote in "Rogue": "More than any other film, ("Caligari") convinced artists, critics and audiences that the movie was a medium for artistic expression". "Entertainment Weekly" included "
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The Cabinet of Dr. Caligari


potential rivalry and spoke out against "Caligari"'s release, condemning it as a "foreign invasion". Nevertheless, the film remained popular in the United States. Several American reviewers compared it to an Edgar Allan Poe story, including a 1921 review in "Variety" magazine, which praised the direction and "perfect tempo" of the film, as well as the sets that "squeeze and turn and adjust the eye, and through the eye the mentality". A "New York Times" review likened it to
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The Cabinet of Dr. Caligari


portrayed in the film were signs of things to come in Germany, and that the film reflected a tendency in Germans to "retreat into themselves" and away from political engagement following the war. Vincent LoBrutto wrote that the film can be seen as a social or political analogy of "the moral and physical breakdown of Germany at the time, with a madman on the loose wreaking havoc on a distorted and off-balanced society, a metaphor for a country in chaos". Anton Kaes, who called "Caligari" "
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