Repulsion (1965) Film review

Fig. 1 Repulsion (1965) official film poster

Repulsion (1965) directed by Roman Polanski, is a psychological thriller/horror about a woman with an inherent fear of men and intimacy. The film is set in 1960's London, England and discusses the horrors of someone with a severe mental illness. The director cleverly places the audience in a voyeuristic state, allowing us to closely witness the protagonist's world crumble and fall as she gives in to her fears and loses her sense of identity. 'The film opens, as it closes, in darkness before the camera draws back and reveals itself as the pupil of Carol's eye' (Butler, 1970) 'In other words, from the start of Repulsion, we are not sure whether we are 'inside' or 'outside' Carol's mind.' (Brown, 2013) An ambiguous quality that makes the experience all the more bizarre and interesting.

The film first introduces us to pretty, Belgian manicurist, Carol who lives with her sister, Helen in a small, shabby apartment. From the very start of the film, the audience senses that there is something odd about the protagonist, Carol. She seems to always be in a constant trance-like state and her gaze is both empty and frightening. She is also very fearful of men and avoids any form of contact with them. As the film progresses, Carol becomes more and more delusional and out of touch with reality. However, it is not until her sister embarks on a trip with married boyfriend Colin, that Carol's condition truly worsens as she begins to be 'tormented by ghoulish beasts, both real and imagined.' (Miraudo, 2010) These 'beasts' take the form of a rapist in her bed, huge, gaping cracks in the walls and big, hairy hands protruding out of walls, reaching out to grab her. It is vital to note that 'since Carol responds to these occurrences as if they were real, it becomes difficult to tell which images are symbolic and which are literal.' (Brown, 2013) 'These strange and highly disturbing hallucinations gradually drive her to the brink of madness, resulting in murder.' (Hutchinson, 2012) She commits her first murder by bludgeoning her male admirer, Colin, with a candlestick when he forcefully breaks down her front door and enters her house. After killing him, she drags his body and dumps it in the bath. Colin's death was almost inevitable as he had committed a dangerous act: 'attempting to forcefully penetrate Carol's mind/personal space.' (Brown, 2013) This is something that she cannot allow and takes severe preventative measures to avoid it from occurring, by cutting the cord off her telephone and refusing to leave her house; subsequently cutting off all ties from the terrifying world outside her door.

Fig. 2 Repulsion (1965) Carol is tormented by ghoulish beasts...

The choice of music and the soundscape is carefully chosen to make the audience feel deliberately uneasy. The opening theme sounds unsettling with its monotonous tone and steady, slow banging of the drums, and there is a faint drone going on the background adding to the overall eery sound. As Carol's mind gradually disintegrates, the music becomes more and more disturbing and sinister.  The director's use of soundscape to evoke uncertainty and a sense of unease is very similar to A Streetcar Named Desire (1951), a play written by Tennessee Williams and directed by Ella Kazan. After the death of her young husband, Blanche's life is shattered and she begins her dangerous descent into promiscuity and alcoholism. She is forever guilt-ridden by the circumstances of her husband's death and her part in it, and as a result, the nightmares begin haunting her daily life. 'Signalled by the music of the Varsouviana polka, which she danced with her husband on the night of his death, the events of that night play in her mind like a film, always ending with the shot that killed him.' (Sambrook, 2003) Like in Repulsion, the audiences hear all of this, however the other players on the stage hear nothing. 'Their inability to participate in this tragedy makes Blanche's [and Carol's] memories and experiences peculiarly private and contributes to her [their] isolation.' (Sambrook, 2003)

The sound of the ticking clock serves as an indicator that something terrible is about to occur, Carol is aware of this and she waits in terrible anticipation, before turning around to see her rapist in her bed. The camera then focuses on the two of them as she struggles fearfully and is viciously assaulted. In the same way, 'the sound of the Varsouviana polka grows louder and louder in her [Blanche's] mind, the revolver shot puts a temporary end to it. She comes to wait for the sound of the shot to relieve her of the nightmare, if only temporarily.' (Sambrook, 2003) Both women experience these harrowing nightmares of the mind on a daily basis and both women learn to live with it. Before her third rape, Carol is shown applying bright, red lipstick, this could serve as an alarming and poignant indication that she is starting to become accustomed to it, and is preparing herself for the recurring nightmare. 'This practical way of dealing with a nightmare is truly terrifying, as she accommodates the terrors in her daily life.' (Sambrook, 2003)

French philosopher, Gaston Bachelard's book The Poetics of Space was around at the time when Roman Polanski made Repulsion. In this book, 'Bachelard explored a third kind of space, the 'felicitous' space of the home and its domestic menagerie of tables, chairs, cupboards and stairs.' (Worpole, 2013) He was a 'phenomenologist, holding the view that there was a dynamic interplay between an active mind and its surroundings.' (Worpole, 2013) 'Polanski too made much of this interdependence in each of his 'Apartment Trilogy' films: Repulsion (1964), Rosemary's Baby (1968) and The Tenant (1976).' (Woodham, 2013) These films all express how the nightmares in your mind can effect the space around you.

Repulsion was directed in the year 1965, an iconic decade most famously known for its popular fashion, ground-breaking music and the revolutionary introduction of the contraceptive pill. London had undergone a significant transformation, from the 'gloomy, grimy post-war capital into a bright, sining epicentre of style'. (History of London) The introduction of the mini-skirt by fashion designer Mary Quaint was a huge success amongst women of the 60's. With the rise in income, Londoners had more money than ever before and were looking for ways to spend it. 'Music was also a huge part of London's swing. While Liverpool had The Beatles, the London sound was a mix of bands who went on to worldwide success, including The Who, The Kinks, The Small Faces and of course, world famous band, The Rolling Stones.' (History of London)

Overall, it is a disturbing but interesting film. Polanski's 'depiction of a young woman's dissolution into madness is one of the most harrowing mental descents ever depicted onscreen, and it is one that you will never forget.' (Baumgarten, 1997)

Bibliography

(2013) Swinging 60's - Capital of Cool. At: http://www.history.co.uk/study-topics/history-of-london/swinging-60s-capital-of-cool (Accessed on 1.12.15)

Baumgarten, M. (1997) Repulsion . Austin Chronicle . 11-24-97. At: http://www.filmvault.com/filmvault/austin/r/repulsion1.html (Accessed on 1.12.15)

Brown, W. (2013) Supercinema: Film Philosophy for the Digital Age. (First ed.) Berghahn Books. p. 64

Hutchinson, T. ( 2012) Repulsion. At: http://www.radiotimes.com/film/mc4pz/repulsion (Accessed on 1.12.15)

Miraudo, S. (2010) Play it again - Repulsion review. At: https://www.quickflix.com.au/News/PlayItAgain/Repulsion/6997 (Accessed on 1.12.15)

Sambrook, H. (2003) York Notes Advanced - A Streetcar Named Desire. (Second ed.) London: York Press. pp. 62-63.

Woodham, N. (2013) Repulsion. At: http://www.electricsheepmagazine.co.uk/reviews/2013/01/03/repulsion/ (Accessed on 1.12.15)

Worpole, K. (2013) Book of a lifetime: The Poetics of Space, by Gaston Bachelard. At: http://www.independent.co.uk/arts-entertainment/books/reviews/book-of-a-lifetime-the-poetics-of-space-by-gaston-bachelard-1673212.html (Accessed on 1.12.15)

Illustration list

Fig. 1 Repulsion (1965) official film poster. At: https://uk.movieposter.com/poster/MPW-30800/Repulsion.html

Fig. 2 Repulsion (1965) A GIF from the film. At: https://www.tumblr.com/search/mine:%20repulsion

La Belle et la Bête (1946) Film review

Fig. 1 La Belle et la Bête (1946)
official movie poster

La Belle et la Bête (1946) directed by Jean Cocteau, is a classic live-action rendition of the Beauty and the Beast fairytale. 'Cocteau re-creates the classic story of the beauty who gives herself to the beast to save her father, and whose growing love eventually transforms him into a handsome prince.' (Druker, 2012) The film discusses various issues such as love and greed, and how beauty can extend beyond appearances. Cocteau's La Belle et la Bête inspired Disney's 1991 Beauty and the Beast animation and in 2013,  Ethery Pagava created a ballet influenced by Cocteau's film.

The film was made 'in the immediate aftermath of World War II, and offered French cinema audiences what they most craved: pure escapism, blessed relief from the painful memories of the occupation and the penury of the post-war austerity.' (Travers, 2000) The film was directed by the famous French poet and playwrights, Jean Cocteau and many critics have described the film as 'a fanciful poem in movement' (Crowther, 2003) The director, Jean Cocteau was described by people as 'The Poetic Prince of French Cinema.' (Spradley, 2015) This was because he was skilled in many different art forms, including painting, poetry, drawing, filmmaking and acting. In 1946, he directed his first narrative film La Belle et la Bête which was based on the famous children's story Beauty and the Beast by Madame Leprince de Beaumont. This film became a huge hit amongst French cinema audiences and was among Cocteau's most famous films. 'With this film, Cocteau reached a new level of artistic fusion,  combining mythical narrative, visual poetry, cinematic trickery and even his own child-like writing in the credit sequence.' (Spradley, 2015)

'Despite the many challenges that confronted them, Cocteau and his dedicated team succeeded in crafting one of the great cinematic jewels of the 20th century.' (Travers, 2000) Cocteau's film crew experienced many difficulties while filming La Belle et la Bête, electricity was unreliable and film was scarce therefore Cocteau's production crew often worked by candlelight. Cocteau's poor health was also a major obstacle during the production of the film. 'The director had a serious skin condition which made him allergic to the strong studio lights, and he narrowly survived a life-threatening attack of blood poisoning.' (Travers, 2000) Regardless of the difficulties faced by the director and his film crew, they succeeded in creating a film with marvellous visual and technical brilliance. Critic, Brealy states: 'it is a brilliant fairy-tale fantasy, well ahead of its time.' (Brealy, 2012)

Today, 'La Belle et la Bête is still one of the best French films ever made.' (Langdon, 2003)




Bibliography

Text sources:

Druker, D. (2015) Beauty and The Beast. At: http://chicagoreader.com/chicago/beauty-and-the-beast/Film?oid=1050821 (Accessed on 16.11.15)

Langdon, M. (2003)  Beauty and the Beast. At: http://www.amc.com/movie/1956/Beauty+and+the+Beast (Accessed on 16.11.15)

Spradley, P. (2015) Jean Cocteau: The Poetic Prince of French Cinema. At: http://www.theculturetrip.com/europe/france/articles/jean-cocteau-the-poetic-prince-of-french-cinema/ (Accessed on 16.11.15)

Travers, J. (2000) La belle et la bete (1946) - Jean Cocteau  - film review. At: http://www.filmsdefrance.com/review/la-belle-et-la-bete-1946.html (Accessed on 16.11.15)



Illustration list

Fig. 1 (1946) [Poster] La Belle et la Bête official movie poster. At: http://theredlist.com/wiki-2-24-224-267-view-fiction-profile-beauty-and-the-beast.html (Accessed on 16.11.15)

Edward Scissorhands (1990) Film review

Fig. 1 Edward Scissorhands (1990)
 official movie poster

Edward Scissorhands (1990) is a fantasy romance film that is set in the suburbs of 1950-70's America. The film discusses what it means to be an outsider, but most importantly it criticises humanity, portraying them as cruel and prejudiced as they struggle to overcome their fear of the unknown. Edward Scissorhands was directed by Tim Burton and was one of his most personal films as 'it reflects his own childhood and isolation.' (Animation Begins, 2012)

It is very likely that Burton was influenced by German Expressionism when making his set design and characters. German Expressionism was a movement that began in the 1920's, during the reign of the Weimar Republic. 'Clearly the movement was meant to be opposite from realism, with set designs that were often very unrealistic and themes that dealt with insanity, betrayal, and other topics that were unlike the adventure and romantic movies of the time.' (Cott2, 2013) The inventor's castle in which Edward resides in has a strong German Expressionist appearance, 'the windows, beams, and pillars are all crooked or broken which not only shows the 'distorted shapes and set' theme that German Expressionist films often had, but this set is also accompanied by chiaroscuro lighting, often used in German Expressionist films' (Cott2, 2013) like Des Cabinet des Dr. Caligari (1920). Burton was actually influenced by this film when creating Edward Scissorhands as it was one of the first German Expressionist films ever made. Both films use dark, distorted buildings and Gothic set design. 'Also, both Edward and Cesare share a similar physical appearance; tall with very dark features and a pale complexion.' (Cott2, 2013) However, in an interview by Burton's ex-partner Helena Bonham Carter, she states that 'Edward is actually another version of Burton himself, as they both have a pale complexion and dark, sunken eyes.' (Animation Begins, 2012)

1950-70's America was a era of great change, particularly due to the development of the suburbs in 1950 which led to great prosperity and better opportunities being available to families. Most white, middle-class Americans migrated to the suburbs in hopes for a better, more quieter life away from the city. This mass migration later became known as the the 'white-flight'. 'The white families that moved into the suburbs were the perfect picture of conformity - living in row upon row of identical 'Levittown' houses, with little individuality and distinction.' (Aboukhadijeh, 2014)

Fig. 2 A still from Edward Scissorhands showing American
suburban houses

This is clearly evident in Edward Scissorhands, Fig 2. Here we see pastel coloured suburban houses, built together, emphasising the close knit community in the neighbourhood. 1950's-70's America was also a time of great American consumerism with the introduction of the television which became a very successful advertising platform to promote the various goods produced by the 'mass market'. 'By the end of 1950, ninety percent of Americans owned a television, and nearly all owned a radio. Television and radio acted as tools for marketers to dictate the values of American society in order to help sell their products.' (Aboukhadijeh, 2014)  In addition, television programs such as The Donna Reed Show' and Father Knows Best frequently portrayed the traditional, idealised, suburban family which usually took the form of two parents and two children. The Boggs family are exactly this, when Peg Boggs (Dianne Wiest) first invites Edward (Johnny Depp) to her home, she shows him a picture of her family, which consists of her husband (Alan Arkin), her son Kevin (Robert Oliveri) and her daughter, Kim (Winona Ryder). This suggests that American families strongly followed this ideal family life that was expected from society. 

The term 'teenager' was first introduced in 1950 following the arrival of popular music icons such as Elvis Presley and actor James Dean. This term was frequently associated with juvenile delinquency. Young people were unwilling to adhere to the acceptable lifestyle choices of their parents which usually meant having a steady job, a home, and a family. 'America's youth rebelled and attempted to escape from a traditionalist society.' (SarahJay, 2008) This notion is shown through the characters of Kim and her boyfriend, Jim who are first seen at night, coming out from the back of a van belonging to Jim's friend, and later on Jim is shown drinking bottles of alcohol and complaining about his father, who has refused to loan Jim a large sum of money. This leads to Jim's cruel plan of getting Edward to break into his home and stealing the money for him, which leads to Edward's arrest and humiliation.

Edward Scissorhands received great positive critical acclaim, Film4 considered it as 'visually, stylistically and emotionally stunning' (Film4, 2008) and Josh Larsen approved of it saying 'Edward Scissorhands is perhaps the cinema's most enchanting parable about the misunderstood and alienated artist' (Larsen, 2008). Today, this film remains an unforgettable, modern masterpiece about what it means to be innocent and good in a world fuelled by cruelty and violence.


Bibliography:


Text sources

(2013) German Expressionism’s Influence on Tim Burton's Edward Scissorhands. At: https://storify.com/cott2/german-expressionism-s-influence-on-tim-burton-s-e (Accessed on 10.11.15)

Aboukhadijeh, F. (2014) The ‘50s and ‘60s: Decades of prosperity and protest (DBQ) - AP U.S. History sample essays - study notes. At: https://www.apstudynotes.org/us-history/sample-essays/the-50s-and-60s-decades-of-prosperity/ (Accessed on 10.11.15)

Animation Begins (2012) The Influences and the Gothic style of Tim Burton. At: https://animationbegins.wordpress.com/2012/01/29/the-influences-and-the-gothic-style-of-tim-burton/ (Accessed on 10.11.15)

Film4 (2008) 'Edward Scissorhands - A Film Review' At: http://www.rottentomatoes.com/m/edward_scissorhands/ (Accessed on 10.11.15)

Jay, S. (2008) 'Tim Burton and 1950s America' At: https://sarahjay.wordpress.com/ (Accessed on 10.11.15)

Larsen, J. (2008) Edward Scissorhands. At: http://www.rottentomatoes.com/m/edward_scissorhands/ (Accessed on 10.11.15)

Illustration list

Fig. 1 (1990) [Poster] Edward Scissorhands official movie poster. At: http://www.impawards.com/1990/edward_scissorhands_ver1.html (Accessed on 10.11.15)

Fig. 2 (2013) A still from Edward Scissorhands showing American suburban houses. At: https://www.pinterest.com/tesskornfeld/edward-scissorhands/ (Accessed on 10.11.15)

'King Kong' (1933) Film review

After 82 years, 'King Kong' (1933) directed by Merian, C. Cooper and Ernest, B. Schoedsack, remains an unforgettable film in the history of all movies. It was one of the first major blockbuster films of its time - and rightly so, too. With its pioneering use of special effects, it was one of the most successful and groundbreaking movies of all time. 

Fig. 1
'King Kong' (1933)
Movie Poster

Both directors were influenced by the original 'King Kong' book written by Delos W. Lovelace, that was initially published in 1932. Cooper's second influence derived from books written by Paul Du Chaillu, 'an African explorer, whose tales included battles with hippopotami and giant apes in the depths of the jungle' (Wilson, 2001). In addition, it is probable that Cooper's third influence originated 'while shooting location footage in Africa, for his first documentary: The Four Feathers (1929) when he became fascinated with gorillas' (Miller, 2005). His influences later contributed to the creation of the film, a world in which savage, prehistoric beasts roam freely in the deep jungles of  'Skull Island'. 

Fig. 2
'King Kong' (1933)
Ann Darrow

Like most films, 'King Kong' was greatly influenced by the society and culture of its time. It explores important social issues regarding racism and sexism, both of which were highly apparent in 1930's culture. The film first introduces Ann Darrow (Fay Wray) after attempting to steal an apple - an act which is in itself, highly symbolic and echoes the story of Adam and Eve in the Garden of Eden and the Fall of Man. Ann is the epitome of female beauty and 'fits the beauty ideals of American mainstream society: she is a fair skinned blonde, blue eyed with a perfect figure and a pretty face' (Lewis, 2004). The female protagonist is merely reduced to 'a pretty face' as displayed in Fig. 2 - when Jack Driscoll (Bruce Cabot) asks the director: 'Why take a girl along?' the director responds: 'because the public, bless 'em, has to have a pretty face to look at....and this time I'm going to give them what they want.' This highlights their disregard for Ann as an actual human being, she is sexualised and only used for her physical attractiveness. Furthermore, she is entirely passive throughout the whole film, only screaming when in danger, only to alert a male to come and rescue her. To a modern audience, this is a very sexist depiction of the female gender, portraying them as vulnerable and defenceless. Of course, this is entirely what 1930's society thought of women and Cooper was simply trying to represent the social ideas of his era. 

Racism is another key concept represented in 'King Kong'. Many contemporary reviewers have suggested that Kong is a metaphor for a black man, 'forcibly taken from his land and brought to the United States in chains. He breaks free then meets his demise due to his insatiable desire for a white woman' (ABS, 2013). In addition, the native tribespeople from 'Pacific Island' are characterised as savage, brutal and lacking any human qualities. To a modern audience, this is an extremely shocking and controversial representation of race, but to a 1930's audience, racism was deeply embedded in society and so, it would likely have been less surprising for them. 

To 1930's cinema filmmakers and audiences, special effects was something new and exciting, it would later revolutionise traditional filmmaking practices. As Peter Jackson states: 'I think as a film, [Kong] inspired more people to become filmmakers than other film ever made.' Upon meeting visual effects pioneer Willis O'Brien, Cooper began exploring new and alternative filmmaking techniques. Willis O'Brien was one of the pioneers of stop-motion photography - a laborious task in which involved 'moving a miniature puppet an inch, turning the camera on, turning the camera back off to move the puppet another inch before photographing again until the images created a sort of live animation' (Fraley, 2012). This was also exactly how Kong was created. 

Fig. 3
'King Kong' (2005)
Ann and Kong

Undoubtedly, there are clear differences between the original 1933 version of 'King Kong' and the modern remake in 2005. Besides the shockingly realistic special effects used to portray Kong, there are clear differences in the way the relationship between Ann and Kong is portrayed. For one, Kong's love for Ann in the 1933 original film is clearly one-sided. However, the pair share similar feelings for one another in the 2005 remake, their devotion clearly visible in Fig. 3 with Ann going as far as trying to save him (but to no avail) and finally crying beside the gorilla, as she watches him slowly die. Interestingly, in the modern remake, 'it is not beauty that kills Kong, it is greed and fear that destroys him' (Fuchs, 2005). It is also vital to note that director Peter Jackson, portrays Kong's death as extremely poignant, the look of genuine loss and sadness in his eyes as he takes his final breath leaving audiences feeling deeply sympathetic towards the unfortunate beast as we realise that he is a sacrifice to human greed and cruelty. 



Bibliography

Text sources:

Wilson, Karina (2001) A Decade by Decade Guide to the Horror Movie Genre: 'King Kong' (1933) 2001[dated typescript] At: http://www.horrorfilmhistory.com/index.php?pageID=KingKong (Accessed on 06.10.15)

Miller, Frank (2005-2010) 'King Kong' 1933 in Turner Classic Movies (TCM) [online] At: http://www.tcm.com/tcmdb/title/2690/King-Kong/articles.html (Accessed on 06.10.15)

Buck-Morss, Susan (2002) Dreamworld and Catastrophe: The Passing of Mass Utopia In East and West. Massachusetts: First MIT Press. (Accessed on 06.10.15)

Lewis, Natalie (2004) Cooper's 'King Kong' (1933): Black Masculinity between White Womanhood and White Male Capitalist Structures. Whiteness in American Cinema. Berlin. pp. 1 [excerpt] At:
http://www.grin.com/en/e-book/56037/cooper-s-king-kong-1933-black-masculinity-between-white-womanhood-and (Accessed on 06.10.15)

ABS (2013) 11 of The Most Racist Movies Ever Made. At: http://atlantablackstar.com/2013/11/22/11-of-the-most-racist-movies-ever-made/3/ (Accessed on 06.10.15)

Fraley, Jason (2012) 'King Kong' (1933) [online] At: http://thefilmspectrum.com/?p=5407 (Accessed on 06.10.15)

Fuchs, Cynthia (2005) 'King Kong' (2005). At: http://www.popmatters.com/review/king-kong-2005/ (Accessed on 06.10.15)


Illustrations list:

Figure 1. 'King Kong' (1933) [Poster] At: http://www.thinkcreatedream.com/?p=1508 (Accessed on 06.10.15)
Figure 2. 'King Kong' (1933) At: http://hdbitz.org/movies-720p/3030-king-kong-1933-720p-bluray-dts-x264-avs720.html (Accessed on 06.10.15)
Figure 3. 'King Kong' (2005) At: http://www.nzvideos.org/kong.html (Accessed on 06.10.15)

Space Oddities: Das Cabinet Des Dr. Caligari



Fig. 1 Original movie poster
from Das Cabinet Des Dr. Caligari (1920)

Das Cabinet Des Dr. Caligari (1920) Fig. 1 directed by Robert Wiene was considered to be one of the very first horror movies ever made. It draws many elements from classic Gothic literature and this is reflected in the film's characters, many of which are heavily based on Gothic stock characters. This includes Jane (the beautiful damsel in distress), Francis (the hero) and Cesare and Caligari who make up the two villains in the film.

Many events were taking place during the time in which the film was created. The most important being the removal of censorship by the Weimar Republic which led to a rise in artistic freedom. This resulted in a revolution in German cinema and art. Artists were suddenly permitted to express their creativity, no matter how sexual, political or rebellious their ideas. However, Germany was also recovering after World War 1, something that left the people of Germany 'physically and psychologically wounded' (Harvard Film Archive, December 19). The political turmoil was reflected in artist's work, leading to the beginning of German Expressionism. It is therefore highly probable that Wiene was influenced by the events happening during his time, therefore, Das Cabinet Des Dr. Caligari is an example of German Expressionism, with its 'deeply shadowed lighting, distorted perspective and intentionally artificial sets' (Harvard Film Archive, December 19).

The most prominent feature in Wiene's film is the set design. Wiene utilizes Gothic conventions when designing his movie set. The viewer instantly recognizes the Gothic set design when observing the dark corridors and winding staircases that make up the little town of Hostenwall. Another instance in which the audience is reminded of the film's Gothic influences is shortly before Alan (Hans Heinrich von Twardowski) is murdered, the shadow of the murderer is seen on the wall behind him. The use of shadows is very typical of Gothic horror. The distortion created by Wiene creates a feeling of unease; the crooked windows, dark alleyways, sinister shadows and even the monochrome nature of the film connects well to the overall emotion it evokes in the audience.



Fig. 2 Cesare from Das Cabinet Des Dr. Caligari (1920)

The character's use of heavy make-up is also very significant and connects well with the film's horror genre. At first glance, Jane (Lil Dagover) looks like as if she has emerged from Tim Burton's Corpse Bride (2005). Her heavy eye shadow, eyeliner and black lipstick give her a Gothic look, but also makes her resemble a porcelain doll, with her white skin and small, pouty lips. It is interesting to note that Wiene's Caligari later inspired many artists to produce various films and animations including Tim Burton's Corpse Bride and Edward Scissorhands (1990). Cesare's (Conrad Veidt) look is even more intense as seen in Fig. 2, his face caked with heavy, white powder and his eyes outlined with thick black kohl (almost too thick, in fact). Cesare's palid, vampire-esque look and slim physique reminds the audience of a creepy ninja, especially when he blends in with the black background, his black clothing providing him with effective camouflage, as displayed in Fig .3. Also, just before he kidnaps Jane, he quietly and stealthily tiptoes into Jane's room, looming over her, making him appear as a sinister figure.

Fig. 3 Cesare from Das Cabinet Des Dr. Caligari (1920)

Perhaps one of the most startling and disturbing scenes in the film is when it is suddenly revealed to the audience that the story has been narrated by Francis (Friedrich Feher), who appears to be residing in an insane asylum. It is soon revealed that the whole story is a figment of Francis' imagination and that Dr. Caligari (Werner Krauss) is not in fact, a crazy, scheming villain but is a doctor at the asylum Francis resides in. Critic Murray (2014) comments: 'The Cabinet of Dr. Caligari illustrates something more eternal: about great manipulators, and the underlying anxiety that either society has gone mad, or we have'. This is certainly an interesting point and manipulation and deception have become a great feature in many of the best hit classic movies including The Matrix (1999) and Shutter Island (2010). The clever use of manipulation is effective because it is unexpected. It causes awe, it surprises and delights audiences as they realize that they have been tricked into believing something that was never true.

Original reviews of the film 'praised the direction and perfect tempo of the film, as well as the sets that squeeze and turn adjust the eye, and through the eye, the mentality' (Robinson, 1997). It is very likely that audiences at the time found the film unsettling and disturbing, taking into account the theme and subject manner. But nevertheless, Caligari was one of the pioneering Psychological Horrors of its time. The film is very engaging and the constant ambiguities present throughout the film constantly leaves the audience thinking what will happen next.

Surreal, twisted, and mind-boggling - it is a film that will inspire generations upon generations of filmmakers.



Bibliography

Text sources:

(December 19) Decadent Shadows: The Cinema of Weimar Germany Harvard Film Archive at: http://hcl.harvard.edu/hfa/films/2010octdec/weimar.html (Accessed on 24.09.15)

Murray, N. (2014) in: The Dissolve [online] At: http://www.rottentomatoes.com/m/1003361-cabinet_of_dr_caligari/ (Accessed on 24.09.15)

Robinson, D. (1997) Das Cabinet Des Dr. Caligari London British Film Institute (Accessed on 24.09.15)

Ebert, R. (2009) Great Movie: The Cabinet of Dr. Caligari [online] At: http://www.rogerebert.com/reviews/great-movie-the-cabinet-of-dr-caligari-1920 (Accessed on 24.09.15)

[Author unknown] Gothic literature (2013) [online] At: http://shs.bellinghamschools.libguides.com/content.php?pid=525932 (Accessed on 25.09.15)

Illustration list:

Figure 1. Das Cabinet Des Dr. Caligari (1920) [Poster] At: http://www.openculture.com/2013/10/the-cabinet-of-dr-caligari-see-the-restored-version.html (Accessed on 25.09.15)

Figure 2. Das Cabinet Des Dr. Caligari (1920) At: http://tvtropes.org/pmwiki/pmwiki.php/Film/TheCabinetOfDrCaligari (Accessed on 25.09.15)

Figure 3. Das Cabinet Des Dr. Caligari (1920) At: http://www.moviemail.com/film/dvd+blu-ray/Das-Cabinet-des-Dr-Caligari-Masters-of-Cinema/ (Accessed on 25.09.15)