The Cabinet Of Dr. Caligari - Challenging Authority (weimar Germany)

Emery Coxe German 7, Fall 2008 Professor Gerd Gemünden 10/15/2008 Challenging Authority: How does mise-en-scène establish authority in The Cabinet of Dr. Caligari, and how does this vision of authority comment on the status of German society postWWI? From the turbulence and turmoil of post-World War I Europe spawned Weimar Germany – radical, unconventional, groundbreaking – a society untethered by the archaic government of the Kaiser and intent on shattering the norms of the past. Fitting, then, that the burgeoning film industry of the nascent republic produced the avant-garde, Expressionist film The Cabinet of Dr. Caligari. Highly abstract and creative, Caligari defied existing notions of cinema’s artistic merit and, in doing so, garnered international acclaim and success. Yet, hidden within the disorienting sets and disconcerting scenes of Caligari that elicited much of the film’s critical praise resides a disturbing sentiment that lashes out against both authority and society as a whole. Through the skewed scenery characteristic of Caligari’s Expressionist sets, the highly dramatic yet effective acting of Werner Krauss and Conrad Veidt, and several recurring set elements, Caligari rails against authority as deceitful, manipulative, untrustworthy and parallels modern society with true insanity. Undoubtedly, the brunt of Caligari’s vitriol targets authority itself. However, in order to challenge the role of authority in society, the film must first establish an authority figure. Inevitably, the chosen figure to represent authority is Dr. Caligari, and the film wastes no time building his credibility as an authority figure. In the beginning of Francis’ flashback, Dr. Caligari approaches the town; the scene ends with an iris-out of Caligari’s face – ominous, menacing. Here the film’s preeminent embodiment of authority is first presented, leaving the audience with a feeling of unease after the close-up camera shot of Caligari’s hideous and frightening face. The next encounter with Dr. Caligari occurs at the town clerk’s office. The scenery inside the town clerk’s office introduces the first recurring symbol of authority: heightened position. The town

clerk, from whom Caligari must obtain permission to exhibit Cesare in the fair and thus by default is an authoritative figure, is seated on an abnormally tall chair that diminishes Caligari and automatically places him in a subservient position. Additionally, the autocratic and harsh behavior of the clerk towards Caligari and others further validates him as an authority figure, and consequently a threat to Dr. Caligari’s own claim to authority. Observing Caligari’s facial expressions while waiting on the clerk, a burning hatred in his eyes portends the future demise of the clerk. Indeed, Caligari, like any power-hungry individual, cannot tolerate such a threat to his own authority, and his subsequent assassination of the clerk is an indication of his desire for total dominion over Holstenwall. Further development of authority in The Cabinet of Dr. Caligari occurs primarily through several recurring plot elements. As earlier mentioned, heightened position is repeatedly emphasized as a symbol for authority. When Caligari addresses his audience at the fair, both outside and inside the tent, he speaks from a heightened position, giving him an air of authority, and when Francis storms into the police station after Alan’s death, the two policemen – symbols of authority – are seated in chairs, placing them above the level of Francis. Likewise, staircases in Caligari emphasize an authoritative position: stairs precede the entrance to the police station, as well as the entrance to the head of the insane asylum’s office (which later proves to be Dr. Caligari’s office). In fact, the insane asylum itself is a materialization of authority. With its majestic arches, its three imposing staircases, and lastly, the almost marble-like tint of the film itself during scenes depicting the asylum’s lobby, the asylum is reminiscent of imperial Rome, decorated in magnificent marble, marked by glorious arches and beautiful staircases. Such a depiction of the asylum subconsciously associates Caligari with the god-like emperors of ancient Rome. And finally, hats serve to distinguish between figures of authority and common people. When Francis storms the police station, the two policemen are wearing hats, whereas Francis, an ordinary townsperson, is not. Additionally, the chief of police, who enters the scene later, wears an even larger hat than the two policemen, characterizing the hierarchy between the policemen. And

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when Francis and the police chief enter Caligari’s trailer to interrogate him and Cesare, all three

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wear hats: Francis’s is smallest, fitting since the investigation has given him, a common citizen, a modicum of power; then the police chief’s; and largest of all is Caligari’s. Similarly, when the first criminal is caught after attempting a murder in the fashion of Cesare, all policemen save one are wearing hats (naturally, the criminal is bareheaded). Lastly, Caligari is almost always found wearing a top hat – the largest hat in the entire film. This ostentatious hat cannot help but distinguish Dr. Caligari from the crowd and associate Caligari with authority and power. Once Caligari is clearly recognized as the central figure of authority in the film, it becomes exigent to analyze his behavior in order to understand the film’s message about authority. To begin, the Machiavellian nature of Caligari – seen in his evil glare at the town clerk, and later through his murder of the clerk – viciously attests to the corrupting nature of power and condemns the cruel nature of government and authority in Germany, a government in which assassination of political opponents is all too common and accepted. Furthermore, his complete control and manipulation of Cesare testifies to the wickedness of authority. Cesare the somnambulist, brilliantly portrayed by Conrad Veidt, appears peaceful, serene, innocent while sleeping, yet when roused by his sinister master, is consigned to commit heinous murders. This portrayal of Caligari as a brutal Svengali parallels that of the defunct Kaiser, who commanded millions of young, innocent German men during WWI, brainwashing them with his war propaganda, manipulating them in a futile and reckless war, and ultimately ruining many of their lives. Indeed, the parallel between Caligari and the Kaiser is quite defendable and can even be further extrapolated. However, the film’s ultimate message on authority is far more alarming and far more interesting. When Caligari is exposed as the head of the insane asylum, and he himself proves to be insane, a profound message of distrust towards authority emerges from the film. After all, when authority itself, widely held as the voice of reason, is exposed as insane, who and what can be trusted? And indeed, why should any German trust authority after being lead headstrong into one of history’s most shameful events? Even after the final plot twist, when the entire story is

revealed as the delirium of Francis, the “real” lunatic, the film’s overall message betrays a deep

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suspicion of authority. After an entire film depicting the cruelties of the pernicious Dr. Caligari, one final redeeming scene maintaining Caligari, and consequently authority, as good is far too ambivalent and far too weak to negate the film’s earlier rejection of faith in authority. Veritably, the film admonishes the German public to treat government cynically, to no longer trust blindly in the good of authority, for the memories of the past are far too powerful and far too painful to relive. Additionally, the film’s attitude towards society in general poses intense questions as to the definition of sanity. As previously stated, the very sanity of those in authority is questioned throughout the film. Moreover, every set depicting reality – the town, the fair, anything – is characterized in an Expressionist manner, and thus the viewer’s perception is skewed: every line, every angle, every thing defies normality. The only scenery that escapes skewed depiction is the lobby of the insane asylum: conspicuously, the set of the asylum’s lobby is markedly different in that its lines are linear, its windows conventional, and its furnishings customary. Seemingly, everything about the lobby is ordinary. That insane forms characterize the normal world, and normal forms characterize the insane world poses a serious question as to the state of society during the time of the film’s release. Though the message is ambivalent, it can certainly be charged that Caligari holds modern society as crazy and out of control. And indeed, after fighting a World War, which left many confused, embittered, jaded, and wondering, simply, “Why?” after drastically restructuring society, after shattering existing social norms, the German people had ample reason to question the sanity of their world. At the time of its release, The Cabinet of Dr. Caligari was primarily acclaimed for its groundbreaking artwork and gut-wrenching story line; the casual observer overlooked many of these critical messages contained within the film. Nevertheless, beneath its catchy surface and plot, Caligari is rife with an entrenched mistrust in authority and serious misgivings about society itself. And, in the wake of WWI, nothing less should be expected.