The Cabinet of Caligari (1962)

The Cabinet of Caligari is a psychological thriller inspired by the famous German silent film, The Cabinet of Dr. Caligari. Aside from the names the two main characters, Jane and Caligari, and the final plot twist, this film has little resemblance with the early predecessor. The writer, Robert Bloch, a prolific author of short stories, novels and screenplays is best known for Psycho, the novel on which the Hitchcock film is based. Unlike the silent film, this is not a horror, but a psychological story akin to an episode of Twilight Zone –one of the better episodes. The acting and directing are first rate and Bloch's story intrigues and surprises even if the ultimate plot twist becomes clear before the final sequence. The opening image, light at the end of a tunnel, and disturbing music are the only clue that things may not be what they appear. An attractive blond, Jane, exits the tunnel and drives freely in her sports car, sans shoes, until she suffers a flat and finds herself, Rocky Horror Picture style, seeking refuge within the estate of the eccentric Caligari. The estate is not a creepy old mansion, but a tasteful, modern home with comfortable accommodations. After a night's rest, Jane meets Caligari's numerous unsettling guests. Unsettling, only because they accept without question or concern that Jane is being kept in the estate against her will. A large locked gate, guards and dogs prevent Jane from leaving. Most of the guests are kind and understanding. A few, including a handsome young love interest, offer to help Jane escape as long as she opens her mind to their cooperation. An elderly woman named Ruth befriends Jane and offers to help her leave, until Jane later discovers Ruth being tortured by the cruel Caligari and his staff. Jane too suffers humiliation and pain at the hand of the sadistic Caligari. She must rely on her own resolve to escape the nightmare, discovering that most things are not what they appear. While not as ground-breaking as the early film with a similar title, The Cabinet of Caligari is an enjoyable psychological thriller.

No need to recap the plot or what there is of it.In short, the movie's a mess. The fact that events throughout are being distorted by Jane's (Johns) troubled mind may explain the surreal approach, but doesn't lift the repetitive narrative. I suspect that if one were interested enough, the movie could be analyzed for supposed symbolism. For example, there's the revolving door that appears to revolve Jane in and out of her tormentor's office; or why it is that she's in every scene, staging which does make ultimate sense. But the tricks that are supposed to build suspense (What's going on in this weird place) soon become tiresome once they seem to go nowhere. At the same time, the jarring film score is like lemon on pickle. The arty photography is interesting at times, but fails to lift the repetitive storyline.Now, I'm as big a fan of Johns as most anyone. Her fish-girl in the charming Miranda (1948) is perfect casting. Here, however, her little girl voice and abject behavior appear to be questionable casting, becoming at times shrill and bothersome. Nonetheless, I suspect getting someone of her movie stature was a coup for lowly Lippert Productions, traditionally a budget outfit, to say the least. Anyway, esteemed writer Bloch misfired on this one. Perhaps he got too subtle with his permutations on reality, but I'll leave that to a midnight study group. For me, the results are more tedious than interesting or even weird.

After her car breaks down, Jane Lindstrom (Glynis Johns) makes her way to the gated home of a man known as Caligari (Dan O'Herlihy). She is invited into the house and, at first, feels comfortable. But when Jane is not allowed to leave the next day, she realizes that, like Caligari's other "guests", she is trapped. Things get even worse when she witnesses Caligari and another man beating an old woman to death. She'll do anything to get out, but how does she ever hope to escape from Caligari's clutches? This movie might have been a complete dude for me if it weren't for Glynis Johns. For lack of a better word, I'll call her portrayal of Jane Lindstrom "refreshing". She's absolutely atypical of what you would normally expect to find in a movie like this. For the most part, she's meek, mild, mannered, and goes along with what she's told. But when push comes to shove, she's not above abandoning this persona and experimenting with a more brash, sexy personality if it will help her get what she desires. The contrast between the two personalities is fascinating. The rest of the cast is equally enjoyable with O'Herlihy playing the mysterious, cold Caligari perfectly. A group of recognizable character actors, whose names may not be very well known, rounds out the cast.Don't expect "in your face" horror with The Cabinet of Caligari. It's very subtle. In fact, my rating would be higher but the movie is often too subtle for its own good. There were more than a few instances where I wished something would happen. Too often the plot drags as we see scene after scene of Jane lying around bemoaning her situation. Do something, woman! And while Caligari is a threatening presence, he spends most of his time sitting behind a desk asking seemingly pointless questions. But just when you think things have come to a grinding halt, a scene like the one where Caligari is caught by our heroine spying on her in the bathtub comes along and things pick up for a moment.Technically, The Cabinet of Caligari is superior to a lot of the other low budget horror of the period. Cinematography and lighting are quite nice. There are some interesting camera shots and lighting choices such as those during Jane's striptease for Caligari. The set design is a real highlight. I was reminded on more than one occasion of the post-modern/deco house in The Black Cat (1934), a real favorite of mine. The house features fabulously designed staircases, corners, and spaces to make most scenes at least look interesting.Overall, it's too bad the plot couldn't be as interesting, entertaining, or well done as the technical aspects of the film and the acting. Had the plot been better, The Cabinet of Caligari could have been a real winner.

NOTE SPOILER: Unlike some readers and viewers on this site I found this version of "The Cabinet of Dr Caligari" intriguing in its use of dialogue, artistically well intentioned, and part of an ever widening and popularizing of clinical psychology at the time the film was made. The lead actors give their all, and rather than being a re-make of the original German expressionist horror film, the film neatly details the delusion and paranoia surrounding one person's experience of breakdown, with its associations of denial, and distortions of the world outside the self. Working against the film is the cheap trick of borrowing the original German title.