🎃 31 Days of Halloween – Day 30 🎃
The Cabinet of Dr. Caligari (1920)
★★★★★
Rewatched 30 Oct 2025
You can’t really overstate how strange The Cabinet of Dr. Caligari must have looked in 1920. Even now, over a century later, it still feels alien, like it was beamed in from another dimension where geometry had a hangover. Every wall leans, every shadow has a knife edge, and even the trees look like they’re screaming. It’s the first true horror film in the modern sense, and it’s still one of the weirdest ever made.
It’s not just some old silent movie with funky sets; the entire world looks insane because the story is insane. The film’s central twist (no spoilers, even if it’s over a hundred years old) reframes everything as the product of a disturbed mind, in ways that still echo in cinema today, like Shutter Island (2010). Before Caligari, film was mostly content to show you things that were happening. After Caligari, filmmakers realized movies could also show you things that were not.
The performances are broad, in keeping with the times, but that actually fits the tone. Werner Krauss’s Caligari is like one of Tim Burton's stop-motion puppets incarnated in flesh. But Conrad Veidt, as Cesare the somnambulist, was probably the real influence on Burton, his gaunt frame and melancholic performance recalling that of Johnny Depp as Edward Scissorhands. But it would be a disservice to imply that it took that long for the film's influence to be felt. Cesare was reincarnated in every movie monster from Frankenstein’s creature to Count “Nosferatu” Orlok, decades before Tim Burton was even sperm in his old man's balls.
There’s also a prophetic quality to it. Made in post–World War I Germany, Caligari is often read as an authoritarian tyrant with Cesare as a brainwashed soldier, “just following orders.” Even if you ignore such interpretations, Caligari is one of the few films that’s been analyzed to death in textbooks, yet it doesn’t feel dry. It’s alive, and a reminder that horror is about more than monsters. It’s about the instability of our perception of reality itself.
