[79], Wiene asked the actors to make movements similar to dance, most prominently from Veidt, but also from Krauss, Dagover and Friedrich Feger, who played Francis. Stephen Brockmann, Anton Kaes and film theorist Kristin Thompson say it was popular with both the general public and well-respected by critics. The Club Foot Orchestra premiered a score penned by ensemble founder and artistic director Richard Marriott in 1987. [154] Caligari helped draw worldwide attention to the artistic merit of German cinema,[52][127][128] while also bringing legitimacy to the cinema among literary intellectuals within Germany itself. The actors performed in front of a green screen, then their performances were superimposed in front of matte shots based on the original sets. [209] 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. [85] The sets occasionally feature circular images that reflect the chaos of the film, presenting patterns of movement that seem 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. The cinematographer for The Cabinet of Caligari was John L. Russell, who also worked on Alfred Hitchcock's film Psycho (1960). [153][150][173] From Caligari to Hitler based its claims about the film largely on an unpublished typescript by Hans Janowitz called Caligari: The Story of a Famous Story,[22] which gave Janowitz and Carl Mayer principal credit for the making of Caligari. Francis and the doctors call the police to Caligari's office, where they show him Cesare's corpse. Here, Eisner claims, the militarist and imperialist tendency of monopoly capitalism is combined with what Sigmund Freud would later refer to as the longing for protection by a tyrannical father figure, or what Kracauer characterized as "asocial authority". [154], Francis expresses 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. The first thing everyone notices and best remembers about "The Cabinet of Dr. Caligari" (1920) is the film's bizarre look. [90] The original title cards for Caligari featured stylized, misshapen lettering with excessive underlinings, exclamation points and occasionally archaic spellings. Bergman himself, however, has downplayed the influence of German Expressionism on his work. Francis attacks him and is restrained in a straitjacket, then placed in the same cell where Caligari was confined in Francis's story. When questioned by Francis and Dr. Olsen, 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 away from himself. [85] Mike Budd notes that, during the scene in which asylum doctors restrain Francis, his movements closely mimic those of Caligari from a similar scene during the main story. When Jane Lindstrom (Glynis Johns) has car trouble, she seeks help at a nearby mansion. [138] Film critic and director Louis Delluc said the film has a compelling rhythm: "At first slow, deliberately laborious, it attempts to irritate. The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film, directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. [72] Film scholar Vincent LoBrutto said the theatre of Max Reinhardt and the artistic style of Die Brücke were additional influences on Caligari. [24] David Robinson said, as time passed, filmgoers have been less inclined to interpret the film as a vindication of authority because modern audiences have grown more skeptical of authority in general, and are more inclined to believe Francis's story and interpret the asylum director as wrongly committing Francis to silence him. [143] Robinson argues this led to the rise of a large number of film designers – such as Hans Dreier, Rochus Gliese, Albin Grau, Otto Hunte, Alfred Junge, Erich Kettelhut and Paul Leni – and that effect was felt abroad as many of these talents later emigrated from Germany with the rise of the National Socialist German Workers Party. [9], In 1963, Kay said he "disowns" the film, blaming Fox for turning it into a "lurid, sex charged picture" and claiming the version released was "considerably different" from his version. [41] Janowitz says the writers sought legal action to stop the change but failed. In 1983, the German TV station ZDF commissioned composer Peter Michael Hamel to create a new score for a restoration of the film, based on a 1921 print. Finally, it is revealed that Jane is a mental patient and everything the audience has seen up to this point has been her distortion of the institute she was in: the personal questions were psychoanalysis, the pictures were Rorschach blots, Ruth's torture was shock treatment, and even Caligari's coat of arms was a distorted version of the medical caduceus symbol. [83] They are the only two characters in the film with Expressionistic make-up and costumes,[81] making them appear as if they are the only ones who truly belong in this distorted world. 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. [26] Expressionism was late in coming to cinema, and by the time Caligari was released, many German critics felt the art form had become commercialized and trivialized;[155][156][157][158] 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. [1] Dexter says once he read the script and saw how different the film would be from the original, he advised Lippert to fire Kay, but Lippert backed the director. [3] The sets are characterized by strokes of bold, black paint. Most scenes follow the other without intercutting, which gives Caligari more of a theatrical feel than a cinematic one. [4][5] Janowitz served as an officer during the war, but the experience left him embittered with the military, which affected his writing. Coleman Theatre. [70] The collaborative nature of the film's production highlights the importance that both screenwriters and set designers held in German cinema of the 1920s,[47][58] although film critic Lotte H. Eisner said sets held more importance than anything else in German films at that time. [201] 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. Another example is the fair, which on the surface appears to represent fun and escapism, but reveals a lurking sense of chaos and disaster in the form of Caligari and Cesare. [148][149] 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 – and remains terrifying nearly a century after it first stalked the screen. "[1]"This picture is going to cause a lot of talk", said Lippert. "[25] Kracauer believed these changes were not necessarily intentional, but rather an "instinctive submission to the necessities of the screen" because commercial films had to "answer to mass desires". [145] Film historian and critic Paul Rotha wrote of it, "For the first time in 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". [76] 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. [91][92] The original title cards were tinted in green, steely-blue and brown. reflected the trauma German citizens experienced during the war, as that question was often on the minds of soldiers and of family members back home concerned about their loved ones in the military. 98%: King Kong (1933) 65: 6. "[111], Though often considered an art film by some modern critics and scholars, Caligari was produced and marketed the same way as a normal commercial production of its time period, able to target both the elite artistic market as well as a more commercial horror genre audience. Das Cabinet des Dr. Caligari 1920. [190] 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. However, lighting is occasionally used to intensify the uneasiness created by the distortions of the sets. [239] In 2008, BBC Radio 3 broadcast an audio adaptation by Amanda Dalton entitled Caligari, starring Luke Treadaway, Tom Ferguson, Sarah McDonald Hughes, Terence Mann, and countertenor Robin Blaze as Cesare. I saw a relatively cheap film". A good doctor for those who cannot stop complaining. [9][16][18] They first visualized the story of Caligari the night of that show. The cast included John de Lancie, Kaitlin Hopkins, and Robertson Dean. But Francis nevertheless believes he is being persecuted, so in the story as told from his perspective, Caligari takes on the role of persecutor. [131], Another major theme of Caligari is, Stephen Brockmann writes, "the destabilized contrast between insanity and sanity and hence the destabilization of the very notion of sanity itself". [167] 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 Bride of Frankenstein (1935). To Alan's horror, Cesare answers, "The time is short. The Cabinet of Dr Caligari was among the first of its time to explore expressionism in cinema, and was described in a New York Times review as ‘coherent, logical [and] genuine’, suggesting the initial acceptance of the newly received art movement. [105], Stephen Brockmann argues the fact that Caligari was filmed entirely in a studio enhances the madness portrayed by the film's visuals because "there is no access to a natural world beyond the realm of the tortured human psyche". [68][207] Janowitz wrote a treatment for a remake, and in January 1945 was offered a minimum guarantee of $16,000 against a five-percent royalty for his rights to the original film for a sequel to be directed by Fritz Lang, but the project never came to fruition. For example, the majority of major German films over the next few years moved away from location shooting and were fully filmed in studios,[163][143] which assigned much more importance to designers in German cinema. Instead, he was her psychiatrist, and he cures her at the end of the film. 维内 当第一次世界大战历时4年多（1914.8-1918.11）结束，欧洲付出超过千万人丧生的沉重代价后，事实上就已标志着欧洲电影的衰落，而美国电影正加速进入商业繁荣的黄金时期。 Il gabinetto del dottor Caligari (Das Cabinet des Dr. Caligari) è un film muto del 1920 diretto da Robert Wiene.. L'opera è considerata il simbolo del cinema espressionista tedesco.Gioca moltissimo con il tema del doppio e la difficile distinzione tra allucinazione e realtà, supportata da una scenografia allucinante e caratterizzata da forme zigzaganti "[9], Kay used a color chart when making the film. [12] Both writers were penniless at the time. [77] By contrast, Dagover had little experience in Expressionist theatre, and Barlow argues her acting is less harmonious with the film's visual style. [177] Likewise, John D. Barlow described Caligari as an example of the tyrannical power and authority that had long plagued Germany, while Cesare represents the "common man of unconditional obedience". [237], In 1998, an audio adaptation of The Cabinet of Dr. Caligari written and directed by Yuri Rasovsky was released by Tangled Web Audio on audio cassette. 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. [199] The framing device of an insane asylum, for Eisner, has a broader connotation as a statement on social reality in the context of the "state of exception". [4][67] But Kracauer contended the frame story undermines that premise. [216][217][218], Numerous musicians have composed new scores to accompany the film. [94] Buildings are clustered and interconnected in a cubist-like architecture, surrounded by dark and twisted back alleys. For example, the courtyard of the insane asylum during the frame story is vastly out of proportion. [181] Kracauer described the film as an example of Germany's obedience to authority and failure or unwillingness to rebel against deranged authority,[182] and reflects a "general retreat" into a shell that occurred in post-war Germany. [4][5][46] The original manuscript opens on an elegant terrace of a large villa, where Francis and Jane are hosting a party and the guests insist that Francis tell them a story that happened to him 20 years earlier. You die at dawn!" [131] Theatre critic Helmut Grosse condemned the film's visual design as clichéd and derivative, calling it a "cartoon and [a] reproduction of designs rather than from what actually took place on stage". The actors inhabit a jagged landscape of sharp angles and tilted walls and windows, staircases climbing crazy diagonals, trees with spiky leaves, grass that looks like knives. He said it was so well received that women in the audience screamed when Cesare opened his eyes during his first scene, and fainted during the scene in which Cesare abducts Jane. For example, when Cesare first awakens at the fair, a light is shone directly on a close-up of his heavily made-up face to create an unsettling glow. 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