Das Kabinett des Dr. Caligari

Jane Lindstrom is on vacation when her car gets a flat tire and she walks a long way before ending up at the house of Caligari who welcomes her in. After a strange night in the house, Jane feels uneasy around Caligari, as well as other people living in the house, so she asks to leave but she finds out that no one can help her to leave and she is unable to escape by herself. She finds a friend in Mark, a young man, as well as Paul, an intellectual man with a medical background. As Jane tries to break Caligari, she finds out that her attempts to free herself from the house and the spell of Caligari is becoming hopeless. This is not a remake of the 1919 classic, but does have the expressionistic elements of the original, as well as have its own feel with Jane's descent into madness. Johns gives one of her best and more complex performances and O'Herlihy is very spooky as the title character. Fried's musical score is used brilliantly in the film and is probably the best aspect of the movie. Bloch's script does have nice twists at the end, but is seems to go nowhere for the first hour of the film. Rating, 6.

The were some very talented people involved with the making of this motion picture. However most of them, actors , production staff, and and the technicians,had a stronger background in television production than in the movies.Perhaps this why it has the look and feel of a padded TV movie. This was producer, director Roger Kay's only venture into a theater released production. All the rest of his work as a producer, director, and writer was in television.Credited screenplay writer Robert Bloch was so unhappy with many changes made in his script by Kay that he attempted to have his name removed from the screen credits. The writers guild did not permit it.Apparently the problem was that Bloch saw it as a true horror film and Kay directed it as a film about the nightmares of insanity.

Glynis Johns handles the staring role as best she can and gives a well rounded performance as the confused and terrified Jane Lindstrom. Dan O'Herlihy really hams it up as the the ruthless and emotionally brutal Caligari but given the circumstances of the character,his over the top performance was called for. Constance Ford played the cool , aloft, and bitchy Christine with her usual aplomb. She could due this kind of role in her sleep.

In a 1981 interview Glynis Johns talked about her cute and sweet persona in film ans television. She briefly mentioned Caligari, She said that she was 39 years old at the time the movie was made and didn't feel comfortable with the seduction scene so a body double was used for the leg and pantie shots

Dick Davalos said the final script was much different than the one he originally read for, particularly the ending. But that is not unusual in movies.If the movie is a hit then no one gripes if not then everyone blames the screenplay.

Cabinet of Caligari is an okay movie that could have been a great deal better. It's worth a look but it is not a memorable film.

There's one little moment that stood out for me when I watched this movie years ago on the USA network:

Glynis Johns spends most of the movie in some sort of conflict with Dan O'Herlihy playing Dr. Caligari...it's the sort of psych-out contest seen in every episode of The Prisoner and other war-of-wills dramas. Up to this point Ms. Johns is rather prim and after a while this can become irritating to viewers who are used to seeing female protagonists stand up for themselves more vigorously. After a frustrating argument with Dr. C, she runs upstairs, throws herself on the bed and (instead of sobbing or sulking, as her uptight character has behaved so far) lets out a huge WAAAAAA-HAAAAAAH! My girlfriend and I both collapsed with laughter ...but after that moment found ourselves much more in sympathy with her, and that is precisely the effect intended by Robert Bloch.

Overall the movie was worth the time it took to watch, but didn't stand out as a favorite for either of us. But when we encountered something frustrating after that, we'd look at each other and shout, "Waaaa-Hahhh!"

Something just that little bit different here and something really rather good. The slightly odd or seeming unlikely happenings, including the casting of Glynis Johns all make sense by the end, at least as far as I am concerned. Great sets help create a 'modern' but nevertheless creepy feel and Gerald Fried's score is most effective. A very simple idea is admirably sustained and every now and then when we feel things cannot go on like this for much longer we are jolted, either by the outrageousness of Caligari or by the sudden appearance of another guest. I had never even heard of this film before the appearance of the DVD and wonder if indeed it ever opened in the UK. The sexual references and physical violence certainly surprised me for a film of the early 60's. Well worth seeing.

This is one strange movie. It's been unavailable for a very long time and residing in something of a limbo until this welcome DVD release at an equally welcome low price. Basically, "The Cabinet of Caligari" has nothing to do with the famous 1919 silent movie expect for re-using the title, but is based on a thriller story written by the legendary Robert Bloch. It's hard to know how to describe this film, but comparing it to an extended episode of the Twilight Zone or the Outer Limits would be a good start - it has exactly the same stagy TV-like appearance, over wordy and deliberately obtuse script, and earnest (if rather hammy) performances.

The film starts with the heroine Jane (Glynis Johns) speeding blissfully along in a sports car, before coming to an unexpected halt due to a flat tyre. The motives or origins of this car journey are never explained, but don't worry, this is just the beginning of the disorientation that the movie is going to throw at you. Seeking help at a large house, Jane is welcomed inside and meets a handful of strange characters, all of whom appear helpful and pleasant. However, time passes and Jane begins to realise that she is being dissuaded from leaving, in fact she soon finds that it is actually impossible to leave the house and grounds. Presiding over the estate is a mysterious figure known as Caligari, who (with a hilarious hybrid accent) questions and confuses Jane, and generally menaces her in various ways. Jane begins to get more and more afraid as days go by, before losing control completely as the film's several shock twists start to kick in.

What to make of it all....? In a way, the film fails on a lot of levels due to the lack of realism of Jane's predicament. The casting of Glynis Johns as Jane works for me, as she has a very appealing vulnerability, but the script she is given really lets the character down. Jane never explains or expounds upon her feelings in the situation she is in, and therefore, some very obvious questions such as "Who are you all?" and "Why are you keeping me here?" never get asked or answered! Most of the time I was screaming at Jane to just confront her captors and demand some kind of explanation, but she simple drifts around the house engaging in rhetorical conversational ping-pong with the other "guests", with nearly everybody speaking in cryptic riddles like some low budget re-hash of "Last Year at Marienbad". But a lot of the situations she finds herself in are pretty odd, and there is a surreal quality about all the proceedings that works quite well, with some very unconventional filmic techniques thrown in at important moments. Although I couldn't shake the sense that Jane really wasn't trying that hard to get out of the place which did blow the mood somewhat.

However, having said all this, the final few minutes of the film contain the big twist that goes a long was to explain this very odd state of affairs...something which I cannot spoil for you here. I really regret that so many reviews of this film have given away the ending, as it must have been a very odd experience to watch it with no idea of the explanation...sadly I knew the ending in advance as well. But it does make for a worthwhile second run through of the whole film - if you can face another 100 mins of rambling nonsense and slightly whacky psychedelic effects - to see it in the light of what you learn at the end. The film is in black and white Cinemascope and looks gorgeous in full widescreen. The sets and imagery are pretty basic, but the cinematographer does what he can with selective lighting and weird angles.

To sum up, the film works best for fans of the two TV shows mentioned above. It's clever, but nowhere near as important as it thinks it is. I have to say though, that the DVD cover is a total knockout. You also get a full screen version to watch (don't - it ruins it) and a clunky trailer. Not bad for the price. A collector's curio.