Post by klep on Oct 17, 2016 6:47:36 GMT -6
MOVIE OF THE WEEK for 10/17: The Cabinet of Dr. Caligari
It's rare that a single film can be pointed to as the inspiration for multiple genres, perhaps even unique, and it's for that reason that The Cabinet of Dr. Caligari is so special. It is itself a horror film, arguably the first of its kind and almost certainly the first slasher flick - certainly the first to try to twist and unsettle your perception of the scene itself. The sharp angles and exaggerated shapes of German Expressionism prime the viewer with unease. This world is unnatural, and unnatural things must happen in it. The characters are given makeup and attitudes that accentuate the warped nature of the film, making most of the primary characters look gaunt and crazed.
Cesare himself (Conrad Veidt) is the monster; a Somnambulist under the control of the sinister Dr. Caligari (Werner Krauss), stalking the city and stabbing its inhabitants. Much of horror can be traced back to him. Frankenstein's monster's appearance is creditable to the makeup and stilted movement of Cesare for example, and every film showing a stabbing knife in silhouette has Dr. Caligari to thank for the idea. The film even concludes with a twist ending that throws everything we've seen into doubt, and makes us question just where the reality and the true horror actually is.
But as I suggested horror isn't the only genre to have roots in this film. Film noir shares similar DNA with horror, though usually it focuses more on the tragedy of man's moral weakness than the horror of what he can do (some, like The Night of the Hunter, do both). Consequently noir likes to use similar visual language. The severe lighting of Dr. Caligari - frequently achieved by painting the set with "shadows" or "light" - create sharp contrasts between light and dark, which film noir found to be an excellent tool for visually illustrating the border between good and evil. And the harsh and unsettling angles serve to reinforce the increasing paranoia and desperation of the typical noir protagonist.
It's always tempting to look back towards the dawn of film and think that they must have been so unsophisticated about the art. After all, there's been a century of development of the craft - the tools and techniques have all grown by leaps and bounds; surely film these days must be similarly more sophisticated. But for all the wonders of modern film, we have to remember they came from somewhere. The Cabinet of Dr. Caligari reminds you that good filmmaking doesn't require tools and toys; if you have the vision and the determination, you'll make your ideas come to life. And if they're strong enough, they will never be forgotten.
OUR NEXT MOVIE OF THE WEEK for 10/24: I'm Not There
In honor of Bob Dylan's Nobel Prize, our next Movie of the Week will be I'm Not There. Exploring Dylan's myriad facets, the film features numerous actors playing Mr. Zimmerman in various ways. I'm Not There is available for rent on Amazon Instant Video, though it is not free for Prime members.
NEXT PICTURE SHOW PODCAST for 10/18: Westworld
This week's podcast takes a look at Michael Crichton's 1973 film and the new HBO series it inspired. This Wednesday we'll have a thread to discuss the original work, and next week how the series draws from it. Westworld is available for rent from Amazon Instant Video, though it is not free for Prime members.
It's rare that a single film can be pointed to as the inspiration for multiple genres, perhaps even unique, and it's for that reason that The Cabinet of Dr. Caligari is so special. It is itself a horror film, arguably the first of its kind and almost certainly the first slasher flick - certainly the first to try to twist and unsettle your perception of the scene itself. The sharp angles and exaggerated shapes of German Expressionism prime the viewer with unease. This world is unnatural, and unnatural things must happen in it. The characters are given makeup and attitudes that accentuate the warped nature of the film, making most of the primary characters look gaunt and crazed.
Cesare himself (Conrad Veidt) is the monster; a Somnambulist under the control of the sinister Dr. Caligari (Werner Krauss), stalking the city and stabbing its inhabitants. Much of horror can be traced back to him. Frankenstein's monster's appearance is creditable to the makeup and stilted movement of Cesare for example, and every film showing a stabbing knife in silhouette has Dr. Caligari to thank for the idea. The film even concludes with a twist ending that throws everything we've seen into doubt, and makes us question just where the reality and the true horror actually is.
But as I suggested horror isn't the only genre to have roots in this film. Film noir shares similar DNA with horror, though usually it focuses more on the tragedy of man's moral weakness than the horror of what he can do (some, like The Night of the Hunter, do both). Consequently noir likes to use similar visual language. The severe lighting of Dr. Caligari - frequently achieved by painting the set with "shadows" or "light" - create sharp contrasts between light and dark, which film noir found to be an excellent tool for visually illustrating the border between good and evil. And the harsh and unsettling angles serve to reinforce the increasing paranoia and desperation of the typical noir protagonist.
It's always tempting to look back towards the dawn of film and think that they must have been so unsophisticated about the art. After all, there's been a century of development of the craft - the tools and techniques have all grown by leaps and bounds; surely film these days must be similarly more sophisticated. But for all the wonders of modern film, we have to remember they came from somewhere. The Cabinet of Dr. Caligari reminds you that good filmmaking doesn't require tools and toys; if you have the vision and the determination, you'll make your ideas come to life. And if they're strong enough, they will never be forgotten.
OUR NEXT MOVIE OF THE WEEK for 10/24: I'm Not There
In honor of Bob Dylan's Nobel Prize, our next Movie of the Week will be I'm Not There. Exploring Dylan's myriad facets, the film features numerous actors playing Mr. Zimmerman in various ways. I'm Not There is available for rent on Amazon Instant Video, though it is not free for Prime members.
NEXT PICTURE SHOW PODCAST for 10/18: Westworld
This week's podcast takes a look at Michael Crichton's 1973 film and the new HBO series it inspired. This Wednesday we'll have a thread to discuss the original work, and next week how the series draws from it. Westworld is available for rent from Amazon Instant Video, though it is not free for Prime members.