Das Cabinet des Dr. Caligari, 1920

Robert Wiene’s ‘Das Cabinet des Dr. Caligari’ (1920) is a film made to unsettle its audience, it is bizarre and discomforting in as many ways as possible. The set is twisted and angular, nothing makes physical or architectural sense and the shadows are harsh and strange. Audiences feel uncomfortable when presented with images that don’t make sense and the strange set is designed perfectly for creating a sense of unease, even before any action takes place. 'The visual environment plays like a wilderness of blades; the effect is to deny the characters any place of safety or rest.' (Ebert, 2009) 

Fig. 1 The bizarre set

‘Das Cabinet des Dr. Caligari’ is perhaps the most famous example of German Expressionism in cinema. German Expressionism was a movement in the early 20th century with 'distorted landscapes and subjects, the movement intended to give expression to things which were beyond words' Kryah, 2015). It is said by some that the film’s dark and twisted nature is a reflection of, and perhaps a direct response to, the trauma of World War I and the fear and uncertainty that followed. The nature of the narrative in the film 'conveys fear and continuity in a way that tapped into the attitude of a nation trying to recover from what was then the most costly war in its history.' (Kryah, 2015)

The strangeness in the set design varies throughout the film. No set is realistic, but in our first glimpse of Jane’s home the set is much softer and more curvaceous than at any other point in the film. This reflects Jane’s femininity and quickly gives the audience a feel for her character, without much time spent exploring her. The sharpness and distortion of the set varies between scenes of high and low tension, for example, the chase scene following Cesare's abduction of Jane takes place in a sharply twisted and shadowed series of sets. This works very well to bring a sense of trepidation and heighten the unsettling experience for the audience. At the opposite end, in the scene with Caligari being put into a straight jacket and shut away the set is lighter and softer, more open; this complements the feeling of resolution in the scene.

Fig. 2 Jane's Home

Fig. 3 Cesare escapes with Jane

'A case can be made that "Caligari" was the first true horror film.' (Ebert, 2009). Elements of the film can certainly be found in many films in and out of the horror genre, the slow build of tension when Cesare breaks into Jane’s home is a scene that has been repeated in many forms. In this scene Jane is at the very front of the set and the large space behind her shares its position on screen with the point at which most action takes place throughout the film. The positioning of this open space coupled with the large size of the window, the murderer’s entrance of choice, mean that the audience is already unsettled in the short moment before Cesare appears at the window. The audience knows that Cesare has come for Jane, but aren’t immediately provided with a conflict, as he slowly moves towards her. Tension builds and is at a high point when the struggle eventually takes place; this happens right at the front of the set, adding extra shock value to the short scuffle. The pacing of the scene is contrasts with the ensuing chase and adds variety to the film, allowing the set design to contribute greatly to the audience’s discomfort, without becoming repetitive. It all works very effectively to create a sense of horror and it’s no wonder scenes from this film have inspired countless productions since.

Fig. 4 Cesare abducts Jane

The bizarre nature of the set reflects the confusion and unease of the characters in the film. Towards the end of the film the audience discovers that Francis, the narrator and main character of the story, has been mad all along. In his telling of the story, Francis paints himself as a rational hero, the audience roots for him and is pleased when Caligari is caught. Nothing in the film can be believed and the audience is left feeling disconcerted; the distorted set works well to represent the dreamscape of a madman and disturb the viewer further. 'The world of The Cabinet Of Dr. Caligari is meant to resemble ... the contents of the characters’ minds'. (Murray, 2014)

Bibliography

Ebert, R. (2009). Great Movie The Cabinet of Dr. Caligari. At: http://www.rogerebert.com/reviews/great-movie-the-cabinet-of-dr-caligari-1920 (Accessed on 24.09.16)
Kryah, K. (2015). The Cabinet of Dr. Caligari: Dark Relationship with Postwar Germany. At: http://the-artifice.com/the-cabinet-of-dr-caligari-dark-relationship-with-postwar-germany/ (Accessed on 24.09.16) 
Murray, N. (2014) The Cabinet of Dr. Caligari. At: http://thedissolve.com/reviews/1219-the-cabinet-of-dr-caligari/ (Accessed on 24.09.16)

Illustrations

Fig. 1 The bizarre set

Wiene, R. (1920). Das Cabinet des Dr. Caligari. [Film Still] At: https://vintagemoviereviews.files.wordpress.com/2015/01/caligari.jpg (Accessed on 24.09.16)
Fig. 2 Jane's home
Wiene, R. (1920). Das Cabinet des Dr. Caligari. [Film Still] At: http://strosechronicle.com/wordpress/wp-content/uploads/2011/11/The-Cabinet-of-Dr-Caligari-Still-2.jpg (Accessed on 24.09.16)
Fig. 3 Cesare escapes with Jane
Wiene, R. (1920). Das Cabinet des Dr. Caligari. [Film Still] At: http://thedissolve.com/reviews/1219-the-cabinet-of-dr-caligari/ (Accessed on 24.09.16)
Fig. 4 Cesare abducts Jane
Wiene, R. (1920). Das Cabinet des Dr. Caligari. [Film Still] At: https://thefanmetareader.files.wordpress.com/2014/09/tops.jpg (Accessed on 24.09.16)