The Cabinet Of Doctor Caligari is a silent, German expressionist horror film produced by independent company Decla and directed by Robert Wiene. It was released in 1920, the time period of which Germany had recently lost the war. As a result of the characters and plot, many considered the film as a representation of soldiers returning from war. Janowitz and Mayer had wrote the film, basing it from their distrustful war experiences. This would have resonated well with the audience at the time, since them themes and message of not trusting authority and the line between sanity/insanity was very real for the audience; in particular, the returning soldiers. At the time, Germany was ruled by company UFA. They dominated film within the country as most film studios were owned by them. Decla were not, and were actually quite a small company.

However, they innovated the film to exactly that of what they wanted, creating a masterpiece which has gone on to inspire elements of the horror genre and film noir itself. As a whole, The Cabinet Of Doctor Caligari may not have such an impact on the audience of today as it did to those of 1920. The lasting effects of war not only resulted in a high amount of reparations paid but it also dampened the spirits of the nation; film was considered crucial at a time like this and the film not only entertained the audience but served as a reflection of what they were going through.

Arguably, the bizarre, twisted shapes and illusions can be considered one of, if not the most significant reason as to the film’s success. The use of such oblique shapes twisted into windy back alleys, triangular; absurd buildings and a general atmosphere that something is just not right creates a mood which later goes on to inspire film noir. The distorted shapes can perhaps represent the unsettling mood of the film, since we can physically see that things are not how they should be, this translates to the feelings of fear and unsettlement. Anticipation is created by the illusions which make the audience question what is happening.

This fear can possibly stem from the basis on the First World War. Writers Janowitz and Mayer admitted to basing the film on their experiences within war, and the feelings of dread and unsettlement can come from that of anticipation from the war. Again, these feelings were likely to have a more profound impact at the time of which the film was released because the audience (mainly soldiers) were subject to experience those feelings first-hand. Whereas nowadays, the feelings can be considered not as realistic since we have nothing to really go by to base our fears from so these can be created, alike an illusion. These remarkably strange ideas are based from German expressionist fine art, which also utilises off-balance shapes used to create a sense of fear within the audience. Most notably; ‘The Scream’ by Munch uses similar techniques to create an off-balance atmospheric sense of fear. But as well as fear, the image does not seem right since the lines are not straight as everything seems like an unrealistic illusion. This state of confusion is interesting because it manages to keep a tense mood and engage the audiences fully. A similar technique is used in Dr Caligari to keep the audience anticipating the next move.

The editing within Dr Caligari is unique and innovative because it reflects the unsettling atmosphere of the film. Iris wipes are frequently used to make the transition between scenes much smoother which continues the fraught tension. This technique is adapted and utilised throughout the film’s entirety and many versions are used. In this particular scene, a diamond shaped iris wipe is used to unsettle the audience by showing Cesare. Since we can only see him within the setting, fear is successfully achieved because everything else is blacked out. A fade is used to cut in and out of the scene, giving a smooth transition which is significant in retaining the tension created by the dark, ghoulish lighting. In this particular sense, the iris wipe is vital in keeping the scene as fluid as possible since it can be considered one of the most anticipated and exciting scenes so needs to run smooth. Since we are engaged in the film, the idea of darkness surrounding us ensures verisimilitude because not only does it make us feel part of the film but it represents how we are viewing the film from Francis’ mind and observing his story.

However, iris wipes are also used to represent a flashback. When Francis; the narrator retells the story of the fair, an iris wipe is used immediately after to physically show us a difference in scene which can represent the time period difference; signalling a flashback. The cut emphasises that this is a flashback because the camera’s iris is shut slowly then re-opened. This can represent the reopening of Francis’ ‘memories’ to narrate what happened that day. The physical change in scenes reminds us that there will be clear differences because we can see the change on screen between both the two scenes but also the different time frames. This is vital in showing that there is a clear difference to not confuse the audience as to whether the flashback is actually happening now. This the film does not follow a clear linear, and the flashback demonstrates that there is a time difference. The fluidity of this transition was very significant to show that there is actually a difference because it should not confuse the audience

Iris wipes are so significant because they allow the film to seem ominous. We do not know what is happening next, so by having each shot being ‘wiped’ off screen, we are eagerly awaiting the next frame. This has a profound impact on the audience, particularly that of when it was released; who would not expect such a seamless transition with such fear behind it. The idea of darkness seems to resonate because it fits in with the idea that we are trapped in Francis’ mind. As the darkness swallows the camera, we are further engulfed into Francis’ story as we continue to believe everything he is telling us. Although we later find out that he is an unreliable narrator, we could become unsettled due to the physical darkness engulfing the camera.

There is a lack of intercutting within the whole film due to the difficulty occurring with manual cutting, changing and addition of the film. This meant that it relied on fades and iris wipes to smoothly transition each scene to the next which was important for a horror film but especially for one which builds up tension. However, since the film is silent there are period where scenes cut to title cards which narrate and explain what is going on. This gives us background knowledge and also separates each scene clearly which is useful to ensure that the audience know what is happening and when. This is important because it ensures that we fully understand Francis’ story. As he is the narrator, we trust everything that he tells us without the dialogue to prove this. Title cards explain what is going on, which is significant because it ensures that we fully trust him. By trusting Francis, the ending is more powerful because we could not have anticipated the twist that he is actually telling a story because of his deluded mind. This is significant because it makes the film more surprising for the audience since they did not expect what would happen

Shots vary in length to keep the audiences engaged. For example, when Cesare is first introduced to the audience; the shot lingers on Dr Caligari and Cesare to ensure that the audience realize how significant the characters are. There is also the element of delaying the anticipation, as the audience eagerly await to see how the onscreen audience will react to Cesare. But the shot is dragged out so the tension builds as the audience continue to wait for the reaction. However, when it finally cuts to the audience, the frame only lasts a few seconds before flitting back to Caligari and Cesare. This could perhaps represent the significance of the two characters by getting the audience to focus on them.

the whole film retains a calm and steady pace, especially for something without sound. Scenes flow much more because of the tension build up caused by the iris wipe technique of surrounding the scene and camera in utter darkness. The editing techniques used in Dr Caligari are innovative because they centre on creating fear but also building up tension to make the film as believable as possible. This is significant because the whole film is based around the idea that we believe and trust Francis, the narrator so that the twist ending comes as a massive shock.

Makeup used within Dr Caligari is very significant to the plot because the film is silent, so characters cannot express their emotions through dialogue so have to rely on facial expressions. Throughout the film, detailed and sometimes excessive makeup is used; primarily by Cesare, to express the feelings and thoughts of the character. This is extremely significant because the film is silent, so the audience have to interpret what a character must be thinking or feeling by observing their face. By using such thought provoking, detailed and sharp makeup, we can instantly identify who is good and who is bad by the colour association. In this particular scene, the black eyeshadow is pivotal in displaying the sadistic and murderous intentions of Cesare. Black typically represents darkness and usually evil within horror films; this trope can represent the perception of Cesare as such a malevolent, bad-natured character which would not make the audience like him as it seems as though he is going to kill Jane. Although we now know that the whole scenario was inside Francis’ head, Cesare is shown as a psychopathic killer within this scene by the usage of dark, gothic makeup which is typical within horror films. Moreover, his facial expressions emit this sadistic nature as he grins over Jane. By using dark, excessive makeup we instantly make the assumption that Cesare is the villain and antagonist for the film because his evil nature is conveyed to us primarily through his looks since the film is silent. Whereas Janes’ lack of makeup represents her innocence, in comparison with the dark, heavy makeup of Cesare.

Costume is also used to inform the audience on the thoughts and feelings of the characters, but also to make us aware of what their role within the film is. An obvious example comes from the dark, black clothing of Cesare. We are led to believe that he is an evil, sadistic killer. Although he does not speak, this is expressed through his dark, moody and sinister clothing as we instantly connect black or darkness with evil. Themes of deception are introduced because we find out that Francis, the narrator, is unreliable. Eventually, it is relieved that Cesare is not evil nor a killer and instead just an inmate in the asylum. This can introduce the idea of stereotyping, since darkness is introduced to imply Cesare is our villain. Similarly, Jane is shown with white lace clothing. This is a trope of innocence within films, since white is constantly used to convey innocence. Contrasting the two characters costumes, we can assume that Cesare is evil whereas Jane is harmless and unaware what is happening to her. This is important because aside from the action, there is no other way to explain who the characters actually are and establish their role in the film.

I would consider costume vital as part of Dr Caligari because it gives the audience more suggested information about each character that is missed out due to the lack of dialogue. However, it would have a more significant impact on the audience at the time, because they were more accustomed to reading facial features and physical looks opposed to the modern audience where most character information can be given by the dialogue or narrative. In regards to costume, both Cesare and Dr Caligari hone the typical German expressionistic hairstyle particularly Cesare’s jagged black spikes. They are the two characters in the film with this expressionistic hair styles and also outfits, which can suggest that they are the only ones who actually belong in the twisted and distorted world. However, it turns out that it is Francis who is insane, contradicting this idea that it is Cesare and Dr Caligari who are monsters.

Set design is one of, if not the most important aspect of Dr Caligari which establishes it as such a success and pioneer for German Expressionism. Interestingly, the film was entirely filmed within a studio and everything was artificially created to give an impression of actual locations. This was a relatively new innovation and rarely used beforehand. Shadows are also created by painting dark, black streaks of paint onto the set. This bizarre yet interesting concept creates the artificial impression of shadows which adds to the tension and retains a creepy, climatic atmosphere. This distorts the audience’s perspective as we are faced with an illusion which looks strange and out of place. Buildings are intertwined with twisted, black alleys which makes everything seem not as it should be. Everything seems like it should not fit; doors are round, chairs are remarkably tall and window frames are offset to the point where it seems unnatural. However, an interesting idea is that the characters do not acknowledge this bizarre environment. They live in it alike anyone would go about their day to day life; this could perhaps be a foreshadowing that the ‘reality’ is not in fact true and we are observing some sort of twisted dream or story. This the environment is so twisted and unnatural, this can suggest possibly that what is happening is not reality because it is not natural. Since the film is told through a series of flashbacks, it is suggested that we are actually in the mind of Francis, a mad man. This can be why everything is so distorted; as we are viewing things from his unhinged and insane perspective.

Since the film is filmed entirely within a studio, there is also the idea that there is no access to the real world and the characters are trapped within this hellish nightmare. Fear is a main feelings imposed upon the audience by the unnatural approach to the set. This is very significant in setting the mood for the rest of the film and suggesting that the characters are trapped within this world. We are given a look into the mind of Francis from his perspective since we did not know that his story is fabricated. However, this separate world is disrupted by the elements of normalcy shown through certain sets such as that of Jane’s house. This high end furniture contrasts against the off-balance shown throughout the majority of the film. However, this could represent how Francis feels safe in Jane’s presence since he views everything normally. Whereas his interactions with everyone else is wild and frantic; this is implied by the distorted world tainting his view of the people around him aside from Jane as her house shows that he holds her to high regard. This is important in showing the relationship between Francis and Jane. Although it is later revealed that she is an inmate at the asylum; she is shown throughout the film as a regular woman. She could be perhaps a representation of Francis’ final grasp on normality. Since her makeup and clothing is regular compared with the expressionistic inspired outfits of most of the characters; we can assume that Francis views her with compassion and feels safe within her presence. She is a sense of normality compared with insanity.

Fine art expressionism started around the beginning of the 18^th century, and was originated in Germany. There were some traces beforehand, such as the famous ‘The Scream’, but the movement mainly became popular during the early 1900’s. The warped but unique visual style of Caligari is perhaps one of the most influential aspects of the film and later, the German expressionist movement. It can be difficult to interpret where Wiene got his inspiration from for such a bizarre yet innovative film; but the expressionist fine art movement definitely has some links to the visual style of his work. Art such as ‘The Scream’, by Munch 1893, represent the wildness and unsettling visual appeal expressed in the set and overall look of Caligari. The shapes are less defined here, whereas Wiene uses bold and clear shapes to stand out very clear to the audience. However, alike the painting; Caligari could represent the soldiers at war. Many interpret ‘The Scream’ as soldiers being drove mad by the after impacts and consequences of the war. Regardless of the evident visual influence, it can be considered that Wiene took inspiration from the deep and significant message behind the painting to represent in the form of Caligari.

As a result of this, the visual style of Caligari is set aside from all other work at the time because it is representative of the eerie atmosphere due to the use of unsettling architecture and out of place shapes which create both actual and mental illusions that something is not right. In particular, it is the earlier pieces which have more of an influence on Wiene due to the wild nature creating such a unique impact on an audience which was remarkably uncommon at the time. This led to Wiene becoming more creative, leaving Caligari with one of the most significant and unique sets to the plot that has ever been linked in with a film

Another painting is of similar style and visual appeal to Caligari is ‘The Castle and the Sun’ by Paul Klee. This was released eight years after Caligari, but is very similar in ways of emphasizing the defined shapes and lines to create a specific mood and atmosphere. However, Wiene differs slightly from the fine art expressionist movement by favouring shadows, darkness and general low-key lighting opposed to the bright, warm colours used by artists such as Klee, and Kirchner who typically create an out of place mood by using a mix of warm and vivid colours in comparison. Other art which served as visual inspiration for the sets and style of Caligari is ‘Landscape near Dresden’, painted in 1910 by Heckel. The warped, unsettling architecture of the buildings represented in the painting are very similar to those constructed in Caligari. The dark, shadows are also an element utilised by Wiene which create a similar kind of haunting effect on the audience. Although the creations of Wiene are innovative and unique, they are based from the fine expressionist art movement, mainly in regards to the bizarre and challenging shapes creating different atmospheres and instilling contemplation into the audience.

Although other similar German Expressionist films were made at the time, it was Caligari which had the most arguably profound impact on the audience, and other film-makers who utilised the Mise en scene to create similar films. A particular example is the 1922 film ‘Nosferatu’ directed by F. W. Murnau. This was another impactful film on the German Expressionism movement, due to the use of low-key lighting and shadows to create an eerie and frightening atmosphere. Murnau used similar techniques to Caligari, emphasizing the importance of shadows to create an element of fear and excitement by not always showing the characters to the audience. This was successful in Caligari because it also added to the dark and intense atmosphere. This produced a similar effect in ‘Nosferatu’, as the monster seemed to be scarier when only shown partially through the shadows.  Another similar film which helped found the German expressionism movement and took inspiration from Caligari is the 1924 drama ‘The Last Laugh’ directed also by Murnau. Many films produced in the 1920’s took inspiration from Caligari, mostly through the lighting and set design. Not all were necessarily horrors, and many were different genres such as dramas which utilised some elements of Caligari such as the low-key lighting. During the time of which Caligari was released, many films were influenced by the visual style of the film; particularly the lighting and Mise en scene.

In contemporary cinema, Caligari has the most notable influence on horror/action director Tim Burton who bases many of his films and overall visual style on German Expressionism. In particular, his 1990 dark romance ‘Edward Scissorhands’ is very visually based from Caligari. The characters are dark, mysterious and typically veering towards bizarre. In a similar way to most of the other films, Edward Scissorhands is mainly influenced by the style of Caligari in the way of favouring darkness to create a mysterious atmosphere. The scenery and location of the film is very dark and gothic in a similar way to Caligari.  The themes of isolation are also represented by the clear similarities between the characters of Cesare and Edward. Both are shown as creations, who are alone and isolated within their lives. Most characters within Edward Scissorhands are based from the dark, defined characters created in Caligari. Burton also creates several other films influenced from German Expressionism, particularly the setting and Mise en scene elements of Caligari. The gothic castle of which Edward lives is repeated throughout several of Burton’s films. This gothic, dark and creepy setting represents the eerie settings created in Caligari which typically use dark colours and out-of-place, bizarre shapes

Lighting is very simple within Dr Caligari as it mainly involves the stark yet deliberate contrast off dark against light and black against white. A prime example of this comes from the makeup of Cesare. As I previously explained, black is used to represent darkness and evil within his character; that of the implication that he is a murderer by the unreliable narrator of Francis. The remarkably white tint of his face stands out sharply against the black hair, makeup and background. White and black are interesting colours to contrast because they are considered opposites; innocence and evil representatives. The surrounding of darkness suggests that Cesare is being affected by evil and this malevolence is slowly spreading. This interpretation can be considered corrupted by Francis’ warped mind which makes us question everything.

Shadows are actually used to show Cesare killing Alan. Throughout the film, we see Cesare as a dark, twisted character. However, by not actually showing him murder Alan, and instead using his shadows; we are given the implication or perhaps foreshadowing that he is not actually a murderer. But by this point, we do not know this so we assume that he is this evil, dark character. Murdering Alan in darkness and hidden by shadows serves as a good representation of Cesare as a dark character himself. We are led to believe this because the darkness hides his true character. Visually, the shadows contrast against the limited lighting to show the audience exactly what is happening. I don’t think the murder would be as effective if shown in broad daylight because by this, we never actually see Cesare do it; this shows that he is not truly evil to the point where Francis’ twisted memory cannot even conjure the image of him murdering Alan

Another main focus of lighting, is that of the contrast between light and dark. Most of the characters wear black, or dark colours aside from Jane. This stands out against the brighter lights and interior designs which are typically white or grey as seen in the picture. Since the characters are usually depicted in darkness, we get the assumption that Francis perceives others as evil and not to be trusted. Since we are watching the film from his ‘flashbacks’, we assume that he is telling the truth. However, his deranged world is fiction and the characters shown in darkness are simply reimagined people from his environment. The colour contrast is significant in showing that there is a clear difference between the characters and the set. This can be derived from the idea that although the people themselves are real their characters created by Francis were not and we are actually not viewing an environment but instead trapped inside the warped mind of Francis

Although Caligari was influenced by the fine expressionist art movement, there were many other external factors which helped create such a unique and innovative film. At the time, most films were produced by the large company, UFA which was founded in 1917. The studios located in Belin were some of the most technologically advanced in the world, which enabled many artistically outstanding films to be produced as a result. There was a particular emphasis on camera work, in films such as ‘Dr. Mabuse the Gambler’ directed by Fritz Lang and released only two years after Caligari. Other successful films included: ‘Sumurun’ (1920, by Ernst Lubitsch) and ‘Die Nibelungen’ (1924, by Fritz Lang). Both films were very successful and produced by the company which served as direct competition to Hollywood; particularly during the silent era

Caligari was distributed by the smaller company ‘Decla Film’, formed in 1911 and also in competition with UFA. It distributed smaller budget films in comparison to the mainstream, high budgeted films produced by UFA. This inspired Wiene to break away from the confines of the typical film conventions and rather than working with the larger company, he focused on a niche audience to satisfy his views of the film rather than the large company and a wider audience. As a result, Caligari was quite a specialised film because the unique look and feel was not typical of the conventional horror nor silent film produced at the time. Although it seemed difficult to defy the company at the time, Wiene focused on the success of his film which resulted in the innovative techniques which later influenced many more similar films and ideas.

The production company ‘Decla’ was a small, independent company which produced Caligari. Erich Pommer was a renowned figure in the silent era of German expressionism, producing numerous successful films, most notably ‘Metropolis’ (1927, by Fritz Lang) which still has a large influence; with the futuristic landscape inspiring films such as ‘Blade Runner’ (1982, by Ridley Scott) and several of the Batman films. This proves the success of the company, which is known for focusing on the niche audience and appeal of a film rather than trying to compete with Hollywood for profit and a large audience, like UFA tried doing during particularly the silent era of 1918. Although there were many ‘successful’ films produced and distributed under UFA; Decla focused on the attributes which made a film successful and popular rather than sticking to generic tropes and conventions to try and draw a crowd.

There are many themes within Dr Caligari, all of which would resonate with the audience at the time of release. Since the film was released after the First World War; there is the strong suggestion that it is based from events occurring then. The interpretation of Caligari represented the authoritative   figure who ruthlessly controls and dominates Cesare. Whereas obedient and submissive; Cesare complies with Caligari’s demands. This can perhaps represent the everyday, working class and struggling German citizen. After kidnapping Jane, it seems that Cesare cannot cope without his source of power and dies. This could represent how the citizens are exploited by the people of higher wealth and power, who take from them and begin to control them; alike Caligari does to Cesare. But Cesare’s ‘murderous rampage’ could be considered an act derived from Caligari who could be fed up with all of the power. This suggests that even the cruellest of tyrannies have a rebellious streak. The use of stairs within the set also represents this unfair and biased power hierarchy, with steps leading down to Caligari’s place whereas stairs upwards to the police station.  This power relationship is significant because it represent s the fraught social class system of Germany after the First World War

Another major idea comes of deception and the twisted perception of reality. Although we trust initially trust Francis based on the normality shown and also the fact that he is our narrator; throughout the film, there is a general unsettling atmosphere created perhaps to warn us that all is not what it seems. The twisted architecture is unnatural and creates tension because the audience is not used to this warped concept onscreen. Despite these hints, we still trust Francis and view Cesare and the murderer due to his association with darkness. But when we finally find out that what happened is in Francis’ head, we cannot accept any of the story as truth because it has been told from not only an unreliable narrator but a madman whose warped perspective we are trapped watching the film from. Since the film is told through flashbacks, we are manipulated into believing it because the lack of dialogue means that we trust Francis’ retelling of events. However, we are shown the insane perception of reality through an insane mind due to the unsettling tension created primarily through the abstract architecture and other elements.  Throughout the film, we trust Francis because of his impression as a regular, protagonist. By learning that this is in fact an idea concocted in his mind; we realise that it is not possible to always believe films because they are told from the perspective of someone who has a profound impact and possible bias on the film, therefore can change the story to accommodate their wishes and paint themselves in whatever light they want

There is also the implication that the final epilogue and closing shots are not accurate, honest nor reliable either. Through Francis’ flashbacks, everything is off-balance and bizarre; yet when he is finally shown in the asylum, we would expect for the world to come back to ‘normal’. But when Francis is sitting on the bench, there are swirly, particularly abstract images around him on the leaves and bench. This suggests that this environment is not considered reliable either. Since the environment follows the same abstract visuals shown in Francis’ bizarre world, we get the impression that we, the audience, have not escaped this insanity since we are still trapped within the twisted nightmare.

We also get the assumption that Dr Caligari is not sane neither. This can be suggested by the closing shot where an iris wipe slowly transitions the scene from a zooming in shot on his face which lingers for a few seconds and is long enough for the audience to catch the deranged look in his eye before cutting to the ending title card. In a similar way to retaining a twisted décor after Francis is revealed as an inmate in the asylum; we are given the impression that although the whole film is shown as the twisted perspective of Francis; reality can be as deceiving and evil. Dr Caligari as revealed as the director of the asylum, but as the camera lingers on him; we are given the impression that all is not what it seems. This ends the film on an unsettling note because we question the reliability of everything. As Francis is revealed as an unreliable narrator, we do not know if the events shown between him and the other characters are true or another twisted nightmare. This can create further doubt over the reliability of the characters, which makes the film extremely mysterious and ambiguous since we do not know how to trust and also what to believe

Finally, the film can be considered an honest representation of the paranoia and anxiety faced by both soldiers and civilians from the end of the First World War. The fear and chaos caused by the murders within the film can represent the frantic, wild state of Germany after the war had finished. The paranoia shown by the characters could resonate with audiences who were just recovering from the devastation caused by the war. Death and murder is a major part of the film as it creates the paranoia and fear, this represents how many people still reflected on the deaths of war and how the film can be a metaphor for the death and devastation caused at war by the controlling, powerful authority figures