कालिगारी का कैबिनेट

I had originally seen this movie at the age of fifteen; it continues to make a deep impression upon me. Though the plot does seem to move rather slowly by today's standards, it remains an amazing story of a young girl who has decided to come into touch with herself. Jane's validity depends upon her own understanding of reality versus fantasy. I am fortunate to have explored, through the DVD, the pleasures and horrors, as she leads the path that ultimately forces her to confront her inner fears. This "remake" may go beyond the original, but still exemplifies the importance of the caring and needs that we need to provide to our own. We are their caregivers. I was especially impressed by Constance Ford's role.

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.

I suppose, strange sounds fair to define this film, reminding more Psycho than The Cabinet of doctor Caligary.

But the mansion and Glynis Johns are the good points of a movie who seems adaptation, free, of course, of Cehov short story.

A young woman becomes prisoner in house who she expected help.

A strange doctor explores, in direct, profound manner, the life of his presumed guests becoming patients. The end is a sort of return to Expressionist masterpiece.

Sure, difficult to judge it and, comparing with the last version, maybe just a reasonable work. But the term eccentric just works in this case, with all, good and bad senses.

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!"