MP3 Das Cabinet des Dr. Caligari by David Robinson read itunes how read fb2 macbook

Book description

Book description
Das Cabinet des Dr. Caligari (1920) or Caligaris as Robinson suggests the original tittle to be, is one of the most, if not the most, groundbreaking films of all times. A plethora of scholars including Lotte Eisner and Siegfried Kracauer have devoted entire books regarding its aesthetics, characters and in the case of Kracuauer an ambitious parallel between Expressionist cinema and the rise of Nazism from the ashes of the Weimar Republic. That was pretty much what I was expecting from Robinsons work. However what I got was something entirely different, yet quite invigorating nonetheless. Robinson begins with a most captivating introduction, detailing the transition of Gothic Horror literature into the silver screen. In this context, he cites several films which I didnt even know existed yet their presence is in my opinion extremely important for anyone who studies horror academically. Among them, is a no longer existent version of The Phantom of the Opera from 1916, the two Student of Prague films (1913 and 1926 respectively) as well as Robert Wienes later works after Caligari. The first chapter begins, as the rest of the book with follow, with a rather extensive listing of information about the people who made the film possible. Screenwriters Hans Janowitz and Carl Mayer, shared a traumatic backstory, that goes beyond the circulating rumor of the first witnessing a girl being murdered by a shadowy figure in a carnival. Janowitz suffered great mistreatment during the first world war, while Mayer ,according to Robinson, lost his romantic interest, a woman who was meant to play the character of Jane yet never made it to the final cut. Furthermore, Robinson justly explains as to how Wienes role in the production of the film has been rather under-appreciated (my guess is that Genuine (1920) might have played a part in this). Other than Wiene however, who died before the outbreak of WWII, everyone else was apparently trying to cash in on Caligaris success with exaggerated claims regarding their involvement in the picture. In the second chapter, emerges one of Robinsons most pivotal points: the difference between the original script and film. Even though the original script follows a rather linear storyline, where Caligari is all locked up and Francis lives his happy ever after with Jane, the final cut reveals Francis a madman and Caligari as a benevolent physician striving to cure the poor man of his delusions. Albeit this twist ending makes the film a pleasant watch today, several critics at the time described it as a conventional finale that glorifies authority. Robinson pits several arguments against each other from various critics and viewers. One of them, which I found worth discussing further was that a modern audience can view the ending as one of Caligaris sinister schemes while an audience at the time could not. Assuming that was the case, does that mean that modern audiences are more skeptical than Weimar cinema-goers? Judging from how quickly contemporary viewers fall for colorful explosions and the oversaturation of the same blunt characters and oversaturated plots in almost every Hollywood movie, I would actually beg to differ. The third chapter Caligari in its time provides insight on the German film industry following WWI and several claims regarding the films release from critics and audience alike. An interesting review came from Jean Cocteau who also happened to be Wienes selection for playing Cesare in an ambitious remake/sequel that never saw the light of day. Cocteau deemed the film a failure for consisting of flat photography, of eccentric decors instead of obtaining surprise by the means of the camera. Overall the French bashed the film, each reviewer for a different reason whereas American critics were a tad more accepting of it. Well, perhaps accepting is an understatement considering that the New York Times called it a fantastic story of murder and madness such as Edgar Allan Poe might have written. In The Caligari Legacy Robinson discusses the future of the film through the works of Siegfried Kracauer while questioning his reading as a rather prejudiced one since his connection between Expressionism and the entirety of the German unconscious might have been a loose one. The cherry on top was the last chapter, in which Robinson annotates the original Caligari script, comparing it with the movie throughout. David Robinson did a great deal of research, this I cannot doubt. His opinions are based on solid facts and his historical analysis contains trivia I have found in no other study thus far. At times however, Robinsons work felt more like a conglomeration of archival data than an argumentative study. Albeit knowing the whereabouts of the films release is important, Robinson at times neglects to add the seductive details necessary to keep the reader engaged. If this was a more extensive study this last flaw I would overlook, however Das Cabinet des Dr Caligari is less than 100 pages long. To be fair however, Robinson follows the standard BFI format Ive found in most film booklets. Their purpose is perhaps to operate as guides or historical fillers rather than intense argumentative essays. Nevertheless, the abundance of details Robinson offers is unmatched while his few surfacing arguments are worthy of further investigation and discussion. Personally, I enjoyed reading Robinsons book and even though at times I found it a little tiresome its small size redeems the occasional boring page with the initiation of a brand new chapter. Criticisms aside, the book serves as an exceptional companion to the film and I would recommend it for anyone writing an essay on Horror, German Expressionism films as well as 20th century German history.
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MP3 Das Cabinet des Dr. Caligari by David Robinson read itunes how read fb2 macbook

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