Rendező:
Robert WieneOperatőr:
Willy HameisterZeneszerző:
Alfredo AntoniniSzereplők:
Werner Krauss, Conrad Veidt, Friedrich Fehér, Lil Dagover, Rudolf Klein-Rogge, Hans Heinrich von Twardowski, Rudolf LettingerTartalmak(1)
A közvetlenül az első világháború után készült film a német expresszionista filmstílus legnagyobb hatású, legtöbbet idézett alkotása, amely 1958-ban a híres brüsszeli szavazáson bekerült minden idők legjobb 12 filmje közé. Hatása nem annyira a közepes tehetségű rendező, mint inkább a forgatókönyvírók, a színészek, és főként a díszlettervezők érdeme. A forgatókönyvírók eredeti szándéka szerint Caligari, az őrült hipnotizőr, és médiumának kapcsolata a hatalomra törő, irracionálisan gonosz zsarnok és a kiszolgáltatott kisember viszonyát testesítette volna meg. Az eredeti cselekményhez utólag hozzákapcsolt kerettörténet tompította a társadalomkritikát, és lélektani síkra emelte a konfliktust.
A filmben kizárólag festett díszleteket alkalmaztak, amelyeket három expresszionista festő, a Sturm csoport tagjai készítettek. A kísérteties, látomásszerű kisvárosban az utcák hegyesszögben torkollnak egymásba, a düledező kockaházak tetején a kémények ferdén meredeznek. A torz perspektívájú, hatásosan megvilágított díszletek között a szereplők árnyakként suhannak, mintha maguk is megelevenedett rajzfigurák lennének. A főszerepekben a kor nagy színészei, Werner Krauss, Conrad Veidt és Lil Dagover láthatók.
(Örökmozgó)
Recenziók (10)
For its time, it was a revolutionary achievement, whose art, with its distorted architecture, shattered established stereotypes. The final twist was brilliant and actually gave all the bizarre shapes of the set their logical meaning.
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Expressionism speaking not only with the proverbially exalted facial expressions and accentuation of the eyes, but above all with delirically twisted and uncertain scenery. Is the story of a mad doctor just a fool's dream? Is that reality? An extremely impressive work that, thanks to its unique visuality (and the resulting atmosphere), does not lose its qualities. Film as art. Art as a film.
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The forefather of all cinematic twists, visually one of the most original films ever, the cornerstone of cinematic horror and the best German movie of all time. Don't you think that this is easily worth five stars, despite the somewhat slow start, and even without the knowledge that it is one of the world's most important classics? P.S.: I watched the longer version that is listed here, but for comparison I also intend to get the one that lasts less than an hour.
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A masterfully played and surprisingly gripping piece with a fantastic atmosphere, thanks to the successful dramatic music and above all, the almost brilliantly bizarre set design. My only complaint is directed towards the fragmented resolution, which unfortunately spoils the final impression.
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Madness simply oozes from the Cabinet. Dark distorted images (the sets seem to have fallen out of a brain afflicted with a persecution complex and a twisted perception of reality) in the most classic sense. The incidental music is extraordinarily suggestive. A jazzy bizarreness combined with various sounds and complemented by a symphony orchestra. Incredibly intense.
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This is one of the few officially respected films that has earned its position. If I had to name one film that is synonymous with all the perfection a film can evoke in a person, all the answers to the questions of why to continue to engage with and be inspired by film, it is The Cabinet of Dr. Caligari. Of course, the perceptive viewer must then become Caligari himself.
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A fantastic film that only becomes fantastic at the end, when everything makes sense, including the wonderfully warped sets. The restored extended version is a treat, and it's certainly not the last time I'll see it – on the contrary, I think it's only when I see the film a second time that I'll see it in all its glory.
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Now, this is a true horror classic and without doubt one of the most remarkable projects from the silent 1920s. To be more precise, while with the famous Nosferatu the audience of that time could at least run to the toilet, in the company of Professor Caligari only diapers could help them. Even after all these years, this is an extremely impressive film with sets and modest design that may seem ridiculous today, but in terms of atmosphere, actors and story, including an excellent twist, it has nothing to be ashamed of. 85%
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I put off watching The Cabinet of Dr. Caligari for a really long time because I thought it was a silent film and I just prefer sound films - and even though I saw the edited version, which was enhanced with music, the film ended up surprising me beyond my expectations. The Cabinet of Dr. Caligari artfully blends horror, action and detective fiction, making it – at least in my opinion – appealing to contemporary audiences. Moreover, the whole thing is wrapped up in an eerily beautiful set with distinctively made-up characters. A textbook example of German expressionism in film!
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The Cabinet of Dr. Caligari will be remembered primarily for its visuals, individual shots, and the play of light and shadow, which can still evoke a sense of the terrifying, unexpected, horrific, and insane even today. The expressionism that emanates from the setting at every turn highlights how intertwined the visual arts were with cinema at that time.
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