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The Cabinet of Dr. Caligari - 2

CaligariIn Das Cabinet des Dr. Caligari, we have one of the earliest examples of a "frame story" in film. In other words, Francis’ retelling of the story frames the main plot, it is a story within a story. Yet, framing the story this way posed its own controversy. The producer, Erich Pommer took a lot of interest in the film, and after missing his chance to have Fritz Lang direct it, gave directorial duties to Wiene. Originally the story made it obvious that Caligari and Cesare were responsible for multiple murders. However, Pommer insisted that the original ending was too macabre and wanted Wiene to make everything appear like a delusion. The filming took place between December 1919 and January 1920, with the premiere at the Marmorhaus in Berlin on February 26, 1920.

Das Cabinet des Dr. Caligari is a perfect example of German expressionism as it emerged in the 1920s, relying on mood and symbolism to compete with the flashy Hollywood films of the day. Each scene of the film has been very carefully constructed. The result: abundant praise from film critics and endless inspiration for future filmmakers and television series, including Alfred Hitchcock. Rob Zombie even went so far as to restage several scenes with himself in the role of Caligari for his 1998 video “Living Dead Girl,” which also made liberal use of the 1920s film era’s sepia, aqua, and violet tinting":

 

 

The film itself has also been set to new music again and again. Notably, jazz musicians Mark Dresser and Denman Maroney released their score in 1994; Geoff Smith produced a new soundtrack on the hammered dulcimer in 2002; and the Peruvian rock group Kinder performed their 2006 soundtrack live at a screening in the film club district of Barranco.

Among all the artistic praise, Wiene and Caligari have also generated some serious academic debate. In 1947, journalist, sociologist, and film critic Siegfried Kracauer interpreted the film as an allegory on social attitudes in Germany during the period before the Second World War. Kracauer suggests that Caligari represents a tyrannical figure, whose only alternative lies in the social chaos the fairground represents. Kracauer wrote during and immediately after the war and his work has been refuted by some contemporary scholars. Thomas Elsaesser, for one, describes the legacy of Kracauer's work as a "historical imaginary".


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