DAS KABINETT DES DR CALIGARI FILMS. 4 EDITIoN character filmed by P C Barua with K L Saigal in 1935, and then by Producer: Erich Pommer, screenplay: Carl Mayer and Hans Janowitz, Dilip Kumar in 1955. The fictional Suresh Sinha is in from an original story by Carl Mayer and Hans Janowitz; photogra fact directing a Devdas version, and is desperately looking for an ideal phy: Willy Hameister; production designers: Hermann Warm, Paro when he chances upon Shanti. Walter Reimann, and Walter Rohrig; costume designer: Walter Kaagaz Ke Phool however, took that tradition of romantic melo- Reimann drama onto a wholly new, and unprecedented plane, and to see how it did so, we need only to continue with the sequence of how Sinha Cast: Werner Krauss(Dr Caligari): Conrad Veidt(Cesare): Friedrich discovers Shanti. He has been rejected by his wife and by his haughty Feher(Francis): Lil Dagover (Jane): Hans Heinz von Twardowski father-in-law, and stands beneath a tree to shelter himself from the(Alan): Rudolf Ettinger(Dr. Olsen); Rudolph Klein-Rogge( Criminal) rain. Shanti, standing next to him and shivering in the cold, receives a gift of his overcoat, and later, arrives on his film set to return that coat. She intrudes onto Sinha's frame, and in an extraordinary follow. Publications up, is seen in close-up in the directors editing room where he realizes that she is the star he is waiting for. Script That sequence spins throughout the film a whole dimension of cinematic space, as shown by the two extraordinary and justly Mayer, Carl, and Hans Janowitz, The Cabinet of Dr Caligari, edited celebrated scenes of Sinha and Shanti standing apart in a cavernous by robert Adkinson, New York, 1972; also included in Masterworks studio, lit centrally by a straightforward metaphoric beam, as their of the German Cinema, edited by Roger Manvell, London and disembodiedspirits emerge and unite; and at the end when the New York. 1973 director dies in that very space. It extends into one of the most sophisticated crane movements in what was Indias first full Books CinemaScope film, constantly dramatizing the conflict between open and constricted spaces, spaces controlled by the director and space Kracauer, Siegfried, From Caligari to Hitler: A Psychological Hi constraining him, spaces that he can enter and those from which he tory of the German Cinema, Princeton, 1947. Wollenberg, Hans H, 50 Years of German Cinema, London, 1948 It also extends into the poet Kaifi Azmi's remarkable songs, set to Huaco. George A, The Sociology of Film Art, New York, 1965 music by Burman and picturized in an unprecedentedly new idiom by Eisner, Lotte, The Haunted Screen, Berkeley, 1969 Dutt. The best known is of course the Waqt hai meharbaan which Manvell. Roger and Heinrich Fraenkel. The German Cinema. New resurfaces, e.g. when the director, reduced to being an extra on Y a movie set, faces a giant stone eagle, and then escapes from Shanti Everson, William K, Classics of the Horror Film,Secaucus, New ven as nature generates a storm of protest all around him. The songs, Jersey, 1974 especially, evoke something like a Sufi idiom, of the tragedy of Laqueur, Walter, Weimar: A Cultural History1918-1933,New unreachable, unattainable desire, and in the process also rescue the York,1974. film from the sentimentalism that afflicts several other filmmakers Prawer, S.S., Caligaris Children: The Film as Tale of Terror, New yorking in the idiom of romantic melodrama--notably Kidar Sharma. York, and Oxford, 1980 The film it might be added was a commercial failure when it was Barton, John D, German Expressionist Film, Boston, 1982 first released, prompting Dutt to not sign his future productions. Over Brunner, Stephen Eric, and Douglas Kenner, Passion and Rebellion he years it has, however, become something of a cult movie, notabl The Expressionist Heritage, London, 1983 for its songs and their picturization. Budd, Mike, editor, The Cabinet of Dr. Caligari: Texts, Contexts, Histories, New Brunswick, New Jersey, 1990. -Ashish Rajadhyaksha Hardt, Ursula, From Caligari to California: Eric Pommer's Life in Robinson, David, Das Cabinet des Dr Caligari, London, 19 Jung, Uli, and Walter Schatzberg, Beyond Caligari: The DAS KABINETT DES DR CALIGARI Robert Wiene. New York. 1999 CThe Cabinet of Dr Caligari) Articles Germany. 1920 Variety(New York), 8 April 1921 Kracauer, Siegfried, in Partisan Review(New Brunswick, New Director: robert wiene Jersey), March-April 1947. Melnitz, William, Aspects of War and Revolution in the Theater and Production: Decla Filmgellschaft(Berlin): black and white, 35mm. Film of the Weimar Republic, in Hollywood Quarterly, no.3 silent, originally tinted in green, brown, and steely-blue: length: 4682 1948-49. feet. Released February 1920, Berlin. Filmed Winter 1919 in Decla Luft, Herbert, in Quarterly of Film, Radio, and Television(Berkeley), Summer 1954DAS KABINETT DES DR. CALIGARI FILMS, 4th EDITION 620 character filmed by P. C. Barua with K. L. Saigal in 1935, and then by Bimal Roy with Dilip Kumar in 1955. The fictional Suresh Sinha is in fact directing a Devdas version, and is desperately looking for an ideal Paro when he chances upon Shanti. Kaagaz Ke Phool however, took that tradition of romantic melo￾drama onto a wholly new, and unprecedented plane, and to see how it did so, we need only to continue with the sequence of how Sinha discovers Shanti. He has been rejected by his wife and by his haughty father-in-law, and stands beneath a tree to shelter himself from the rain. Shanti, standing next to him and shivering in the cold, receives a gift of his overcoat, and later, arrives on his film set to return that coat. She intrudes onto Sinha’s frame, and in an extraordinary follow￾up, is seen in close-up in the director’s editing room where he realizes that she is the star he is waiting for. That sequence spins throughout the film a whole dimension of cinematic space, as shown by the two extraordinary and justly celebrated scenes of Sinha and Shanti standing apart in a cavernous studio, lit centrally by a straightforward metaphoric beam, as their disembodied spirits emerge and unite; and at the end when the director dies in that very space. It extends into one of the most sophisticated crane movements in what was India’s first full CinemaScope film, constantly dramatizing the conflict between open and constricted spaces, spaces controlled by the director and spaces constraining him, spaces that he can enter and those from which he is excluded. It also extends into the poet Kaifi Azmi’s remarkable songs, set to music by Burman and picturized in an unprecedentedly new idiom by Dutt. The best known is of course the Waqt hai meharbaan which resurfaces, e.g. when the director, reduced to being an extra on a movie set, faces a giant stone eagle, and then escapes from Shanti even as nature generates a storm of protest all around him. The songs, especially, evoke something like a Sufi idiom, of the tragedy of unreachable, unattainable desire, and in the process also rescue the film from the sentimentalism that afflicts several other filmmakers working in the idiom of romantic melodrama—notably Kidar Sharma. The film, it might be added, was a commercial failure when it was first released, prompting Dutt to not sign his future productions. Over the years it has, however, become something of a cult movie, notably for its songs and their picturization. —Ashish Rajadhyaksha DAS KABINETT DES DR. CALIGARI (The Cabinet of Dr. Caligari) Germany, 1920 Director: Robert Wiene Production: Decla Filmgellschaft (Berlin); black and white, 35mm, silent, originally tinted in green, brown, and steely-blue; length: 4682 feet. Released February 1920, Berlin. Filmed Winter 1919 in Decla studios; cost $18,000. Producer: Erich Pommer; screenplay: Carl Mayer and Hans Janowitz, from an original story by Carl Mayer and Hans Janowitz; photogra￾phy: Willy Hameister; production designers: Hermann Warm, Walter Reimann, and Walter Röhrig; costume designer: Walter Reimann. Cast: Werner Krauss (Dr. Caligari); Conrad Veidt (Cesare); Friedrich Feher (Francis); Lil Dagover (Jane); Hans Heinz von Twardowski (Alan); Rudolf Lettinger (Dr. Olsen); Rudolph Klein-Rogge (Criminal). Publications Script: Mayer, Carl, and Hans Janowitz, The Cabinet of Dr. Caligari, edited by Robert Adkinson, New York, 1972; also included in Masterworks of the German Cinema, edited by Roger Manvell, London and New York, 1973. Books: Kracauer, Siegfried, From Caligari to Hitler: A Psychological His￾tory of the German Cinema, Princeton, 1947. Wollenberg, Hans H., 50 Years of German Cinema, London, 1948. Huaco, George A., The Sociology of Film Art, New York, 1965. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Everson, William K., Classics of the Horror Film, Secaucus, New Jersey, 1974. Laqueur, Walter, Weimar: A Cultural History 1918–1933, New York, 1974. Prawer, S. S., Caligari’s Children: The Film as Tale of Terror, New York, and Oxford, 1980. Barton, John D., German Expressionist Film, Boston, 1982. Brunner, Stephen Eric, and Douglas Kenner, Passion and Rebellion: The Expressionist Heritage, London, 1983. Budd, Mike, editor, The Cabinet of Dr. Caligari: Texts, Contexts, Histories, New Brunswick, New Jersey, 1990. Hardt, Ursula, From Caligari to California: Eric Pommer’s Life in the International Film Wars, New York, 1996. Robinson, David, Das Cabinet des Dr. Caligari, London, 1998. Jung, Uli, and Walter Schatzberg, Beyond Caligari: The Films of Robert Wiene, New York, 1999. Articles: New York Times, 4 April 1921. Variety (New York), 8 April 1921. Kracauer, Siegfried, in Partisan Review (New Brunswick, New Jersey), March-April 1947. Melnitz, William, ‘‘Aspects of War and Revolution in the Theater and Film of the Weimar Republic,’’ in Hollywood Quarterly, no.3, 1948–49. Luft, Herbert, in Quarterly of Film, Radio, and Television (Berkeley), Summer 1954