Megan Lyons

ENG 466

7 October 2022

International Film: The Cabinet of Dr. Caligari

Throughout the course of this international film course, it has become apparent that the

criteria of what makes an international film “international” is subjective. Many films that are

viewed during the duration of this course range in a variety of different tones, cultures, and

values. The terms and guidelines as to what makes an international film live up to its name can

be interpreted in several different ways. While I used to believe that international film was only a

reflection of the political climate of a country at the time, my definition of international film has

changed. I believe that international film not only is a reflection of the political climate of a

country, but it encapsulates the social and cultural values.

During the duration of this semester, we have viewed a variety of different films. Rules

of the Game (1939), Battleship Potemkin (1925), The Cabinet of Dr. Caligari (1919), The

Bicycle Thief (1948), Tokyo Story (1953), The Seven Samurai (1954), Mother India (1957),

Amar Akbar Anthony (1977), Living in Bondage (1992), Los Olvidados (1950), and Roma (2018)

were some of the films that were viewed throughout the course. Out of all of these films, I

believe The Cabinet of Dr. Caligari (1919) directed by Robert Wiene is a perfect example of

international film. This film has the characteristics I have previously defined for international

film and is by far the best film this course has to offer for the semester. With its gothic effects, it

is by far the most entertaining film of the semester.

The film The Cabinet of Dr. Caligari is the best we have viewed throughout this course

due to the gothic nature of this film. In simplistic terms, I believe The Cabinet of Dr. Caligari
has each element for what I consider a “stereotypical” international film. When I think of the

phrase “international film,” more often that not I think subtitles or silent films. The Cabinet of

Dr. Caligari is a silent film that is done effectively with title cards of text. The font is beautiful

and ties in the gothic nature of this film. We first see it in the beginning credits of the film at

around 0:40 and continue to see throughout the film. These title cards match the color scheme of

the film in cool colors of black, blue, and green. At 3:36 in the film, the audience is met with the

title card stating “I will tell you about it.” The title card is formatted in front of a cluster of

aesthically pleasing shapes that enhance the viewing of this film. I often times found myself

looking out for more title cards like these because they were truly what immersed me fully into

this film. Not only are the visuals cohesive and aestheically pleasing, but they begin to wrap the

film together in a neat package for the viewer to unwrap.

In my opinion, I believe that Wiene’s work may be the foundation of what we find

horrifying in horror films today. Wiene is able to capture the emotions of the audience through

colors that were implemented in each scene. This aids in telling the story through intituative and

emotional cues via the color scheme. At around the 25:20 mark, the picture’s color changes to

that of a yellow hue. I believe this is to indicate the magnitude of what we are about to witness

on screen. The yellow color is vastly different from what we are used to seeing throughout the

beginning scenes of The Cabinet of Dr. Caligari. The blue and green hues are calming to the

audience in comparison to the yellow/gold we are shown. Upon first watch, I found it jarring to

observe this change happening. Wiene did an excellent job of conveying the tone in this film

through lighting and color schemes. I believe this is what makes it the best film we have watched

so far.
 While revisiting the colors Wiene used to convey the audience’s emotions, I stumbled

upon the use of shadows in this film. Wiene captures the figure of what appears to be Cesare on

the wall above Alan’s head at the 24:33 mark. This use of camera work allows Ceasare to look

more terrifying in his shadow form and evoke a sense of fear in the audience. I have noticed a lot

of camera manipulation that is not like anything I have seen in recent years. Shadows,

landscapes, and people are elongated or at an angle conveying a sense of uneasiness. I believe

Wiene’s manipulation of the camera is truly what makes this film horrifying and uncomfortable.

The 24:47 mark is a perfect example of what makes The Cabinet of Dr. Caligari the best film we

have viewed in this course. The use of shadows on the wall instead of watching the scene play

out with real people makes the scene more terrifying. Ceasare’s shadow is lurching over Alan at

24:50, asserting the power struggle and fear between them. Wiene’s use of camera work is truly

what makes this film the best we have watched so far in this course.

During multiple scenes in this film, characters were using exaggerated facial expressions

in order to convey terror or excitment. At 24:40-24:45, Alan can be seen in a fit of terror as he is

approached by a shadowy, murderous figure in his bedroom. At 44:47- 44:51, Ceasare has a

horrible expression on his face as he is leaning over Jane’s sleeping body. He grips onto her chin

as his grin grows wider and wider. I believe this is an excellent move on part of Wiene’s

directing. Having exaggerated facial expressions in a film like this is crucial as there are

obviously no words. Without having words to convey emotion, it becomes the actors and the

director’s role to convey these emotions through whatever means possible. This is done

exceptionally well throughout the entirety of this film. As a society, it is difficult to be able to

fully have our attention on a film without words. There is often a negative sigma surrounding

silent film as I have heard them being described as boring or hard to understand. With these
exaggerated and terrifying facial expressions, it is fairly easy to understand what is going on in

these scenes. Due to Wiene’s direction, these facial expressions is what makes The Cabinet of

Dr. Caligari the best film we have watched this semester.

With all things considered, The Cabinet of Dr. Caligari is one of the best films we have

seen in comparison by far. Not only is the story fitting with this time of year, but it is a truly

horrific tale that is portrayed beautifully in a silent film format. While it did feel offputting to

watch a silent horror film, the more I became enthralled with it as I watched. The use of

shadows, color, and text is what begins to tie each element of this story together. Wiene captured

elements of this story that were spoken without words. It feels challenging to watch a film that is

silent after being used to the Hollywood films we have all grown comfortable with. The Cabinet

of Dr. Caligari is a perfect example of how we are able to view a story and appreciate it for what

is being portrayed. Wiene captured the German expressionist movement in a way that was

entertaining to watch and coincided with what an international film truly is. In conclusion,

Robert Wiene’s The Cabinet of Dr. Caligari is the best film we have seen in this course.

Word Count: 1283