The Cabinet Of Dr Caligari

“The Cabinet of Dr. Caligari” became one of the most groundbreaking films during the era of German expression for many reasons. The original plot was driven by a desire to explain and mock the tyranny and power struggle that was occurring during Germany at this time, and it shattered the ceiling of the German’s way of retreating inside themselves. The architecture of this film strove to achieve true psychological horror status through an exaggerated, distorted and off-kilter set. The buildings lean ominously over the streets, closing off the sky and creating a cramped and claustrophobic atmosphere. They appear to creep closer and closer to the characters, invading their personal space. Each and every window is misshapen and irregular,
This film’s stage set was very simple and took place on a flat plane in order to create the view that a member of an audience would have while watching from the house of a theatre. While the sets were simple, they were not plain. The backdrops used created a fantastical and extraterrestrial atmosphere, achieving the plot of the story- a trip to the moon. Another prominent example would be Hans Poelzig’s design work on the set of “Der Golem.” He successfully expresses the value of the characters simply by giving them a very specific style of house and home. The Jewish ghetto that Poelzig designed consists of gnarled houses and cramped streets and crooked hills, effectively describing the characters just through their living situation. The set tells a story to the eyes. One final example of a film using its architecture to express the story is “Cabiria,” directed by Giovanni Pastrone. The sets of this film tower above the actors and actresses, creating a sense of scope for the viewers. The behemoth sets lured audiences in, and the realism and naturalism of the sets ensures that the historical plot is being told accurately. They were extremely realistic so as to compel the audiences to value the film. The epicness of the sets coincides with the epicness of the story- a young noble girl manages to avoid sacrifice to a local deity and
Kracauer scrutinizes the sets of “The Cabinet of Dr. Caligari” and writes about them in his detailed essay. Kracauer points out the “jagged, sharp-pointed forms strongly reminiscent of gothic patterns.” (69) He points out that these strange and gnarled compounds leaned towards those of homes and familiar objects such as walls. (69) Kracauer declares that “... the settings amounted to a perfect transformation of material objects into emotional ornaments.” (69) According to Kracauer, each and every piece of the film set became less of a physical, tangible object, and more of a spiritual declaration. On page 72 of his book, Kracauer points out the multitude of staircases that lead to offices of authority, reinforcing the theme of tyranny. Kracauer also focuses on the fair scenes in “The Cabinet of Dr. Caligari,” expressing that the frequent use of circles creates a “symbol of chaos” (74) and that the two authors of the film chose a fair scene because as “much as they longed for freedom, they were apparently incapable of imagining its contours.” (74) A final and definitive statement by Kracauer is made saying that “the fair faithfully reflected the chaotic condition of postwar Germany.” (74) Between analyzing the sets of the film, Kracauer conveys his grievances