Written by Editor’s Note: This article was originally printed on October 13, 2009
I’m not a fan of modern horror films. Sure, I like the original “Halloween” and the original “Friday the 13th” films. I even like newer films such as “Scream” and “Scary Movie.” But when it comes right down to it, I like old school horror films.
Last week, there was a review of “Bat” with Vincent Price. This week, I’m taking it back another 40 years and going to 1919 and a silent German horror film called “The Cabinet of Dr. Caligari.” Yes, it is silent. Luckily, you won’t need a German-English dictionary as it’s the English version of the film. There is some German, but it’s really minor. For your information: Du musst Caligari werden translates to “you must become Caligari.”
The film is this intriguing story of love, murder and exploration into the human pysche. The story itself is told as a flashback through the film’s protagonist, Francis, played by Friedrich Feher, as he relates this story of love and death to a passerby—who has his own problems.
Francis tells the story of Dr. Caligari and his mysterious exhibit of Cesare, a somnambulist—a sleepwalker. After the arrival of the good doctor and his science project, things start going murderous in the small German town of Holstenwall. Francis, along with the father of his love and the town police set out to find the killer before he strikes again.
There is a funny scene and it goes with those rules we learned in “Scary Movie” about what not to do, and that is if someone says they can answer any and all questions, never ever ask “how long you have to live.” Chances are you’ll be dead by morning.
Some of the characters aren’t very bright, either. Take for instance a chase scene—Cesare runs off with a girl with townsfolk right behind. They couldn’t catch up with him. To make it worse, they apparently gave up because—I’m not going to spoil it. The movie doesn’t end with the killer being caught.
One of the striking things about this movie is that unlike in America, where the films produced were very moralistic in nature or campy comedies, “Dr. Caligari” has some thought put into the overall structure of the story and deals with the dark side of human nature. It’s not something one would find in an American movie house at the time, and that is part of the appeal of this movie.
The first thing that really struck me was the set design. It’s very German Expressionist with angled doors, windows and buildings. All of the set is in non-confirming styles that draws you into the scene.
The expressionist sets aren’t limited to just buildings. It transcends into the acting and make-up as well.
The acting is complementary to the silent films of the time. Very over the top—it has to be to convey emotion without dialogue.
Werner Krauss plays Dr. Caligari. When the audience first meets him, he has this evil scientist quality about him with the way the light falls across his face and body. This ells the perceived evilness of the character.
Another shining star was the somnambulist Cesare played by Conrad Viedt. The pale make-up on his face and the darkened area around the eyes sells evil. The use of make-up would become a trend in later horror films.
The expressionist quality of the film sells it. This definitely a film that all film studies students should see because of its use for light and shadow.
Overall, once you get the past the fact that it is a silent film, it’s a good film to watch. The movie is available for free for Netflix members. A word note: it’s the 1996 restored version and the music isn’t original. The new music track blends well with the film, unlike other restored silent films with restored tracks.