The Mad Doctor Meets the Somnambulist
Wat gebeur is die eerste kommersieel suksesvolle kuns film. Die Kabinet van Dr. Caligari (1920) is in Januarie vrygestel 1920 besig om 'n Duitse en internasionale sensasie. Dit was die begin van die Duitse rolprentherlewing gedurende die 1920's
The German Expressionist Movement in German art strongly influenced this film. Ekspressionistiese skilders het geboue teen vreemde hoeke geteken, oddly shaped furniture, ens.
The film’s set design reflected this style of composition. Buildings, doors and streets all slope at odd angles or are irregular shapes. Furniture is also oddly shaped. Chairs seats are six feet in the air, bookcases lean and chairs have irregular backs.
Lobby Card from Dr. Caligari from 1921 – Courtesy of Wikpedia Commons
Robert Weine filmed in a standard continuity format making the story understandable to the average viewer. The story itself is a horror and detective story told from one man’s perspective, a story within a story.
A mysterious stranger named Dr. Caligari, gespeel deur Werner Krauss, kom Hollstenwall toe om 'n somnambulist Cesare te vertoon, portrayed by Conrad Veidt. A somnambulist sleeps for days on end. Calagari sê vir Cesare het geslaap 20 te 30 jaar. Coincidentally or not, a series of murders occur once Caligari and Cesare arrive in Hollstenwall.
Street Scene from The Cabinet of Dr. Caligari
The protagonist of the film is Francis (Friedrich Feher), who is in love with Jane (Lil Dagover). 'n Onbekende duiwel vermoor Francis’ vriend wat Francis lei om Dr. Caligari, wie Francis glo verantwoordelik is vir die moord.
Die voortdurende spanning tussen Francis en Caligari dryf die verhaal, which is complicated by Cesare’s infatuation with Jane, Francis’ love interest.
Weine het 'n twist-einde verfilm wat ek nie vir jou sal bederf nie. Hans Janowitz en Carl Mayer het die film geskryf en het Weine se veranderinge sterk teengestaan. Weine het nie geglo dat gehore die film sou aanvaar sonder die kinkeleinde nie.
You will want to view this movie on the Special Collector’s Edition DVD, which restored the film to its original speed of 18 feet per second. American films were shot at 24 feet per second. When the original copies for video distribution were made, a copy of the film was recorded on a 24 feet per second projector. The recording at a different speed made the film look a bit quirky and rushed. The film actually has a very deliberate pace, when viewed at the proper projection speed.
The Expressionist scenery will distract you at first. When I first watched the film about ten years ago for a college class, my wife and kids thought I was watching some 1960s psychedelic drug film. Even after explaining Expressionism, they thought it was odd. All three of my children have watched the film to mixed reviews. I will let you decide on the film yourself.
Werk: I recently saw the restored version on Netflix. I recommend this copy also.
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