#das cabinet des doktor caligari

[rainbowlack]

The Catbinet of Dr. Kittymeowy :3

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The Cabinet of Dr. Caligari (Das Cabinet des Dr. Caligari) (1920) Robert Wiene

August 10th 2024

[week-of-wonders]

The Cabinet of Dr. Caligari (1920) / Das Kabinett des Doktor Caligari

[damned-juggernaut]

[whitewaterpaper]

Skräckmånaden oktober bjuder på skräck även om merparten av dem faktiskt var en tillfällighet.

Doktor Caligari / Das Cabinet des Dr. Caligari (1920) [👍🆓] Klassisk film som influerat mycket film under de 100 år som passerat sedan den producerades. Fortfarande genuint bra. Kan ses på SVTPlay, rekommenderar att testa den med talande textremsor.

Dödsexpressen / Pánico en el Transiberiano (1972) [🆓] Ett av månadens få YT-fynd. Helt okej, men med både Christopher Lee och Peter Cushing hade det potential att bli bättre. Men manus är lite smårisigt.

Fars lilla tös (2018) [👍🔁🆓] Nyproduktionen av fredriksdalsklassikern från 1999. Ankan Andersson är som gjuten i rollen som den vimsige och lite osäkre professorn. Kan ses på Eva Rydbergs YT-kanal.

Fredagen den 13e / Friday the 13th (1980) [] Vad är coolare att se än fredagens den 13 på just fredagen den 13e? Att se den lördagen den 14e förståss! Jag kna ärligt säga att jag förväntade mig mer av den här, så här 40+ år senare känns den nästan oinspirerad.

Frossa / Shivers (1975) [👎] David Cronenbergs långfilmsdebut. Skräck och Science Fiction omnämns den som ... men jag vet inte. Framför allt vill den visa upp sex-zombies.

Hocus Pocus (1993) [👍🔁] Årliga, och alltid uppskattade, besöket i Bette Midlers Salem.

In for a Murder / W Jak Morderstwo (2021) [👍] Trevlig polsk småputtrande crime-film. En klar överraskning av månadens alla fynd.

Kaos i Folkparken (2004) [👍🔁🆓] Mi Ridell i högform. Kan ses på Eva Tydbergs YT-kanal.

Killer Klowns from Outer Space (1988) [👍🔁] Jag ser om Hocus Pocus till varje Halloween, borde inte KKfOS också ses om årligen under oktober? Jajamensan.

Last Night in Soho (2021) [👍] Det här är en film med ambitioner. Det här är en film med ambitioner som faktiskt lyckas vara både bra och sevärd.

Nandor Fodor and the Talking Mongoose (2023) [👎] Märklig film med en märklig ton. Är det en komedi? Ett drama? En Dramedy? Bygger på verkliga händelser men storyn är svår att ta på allvar.

Slice (2018) [🆓] Paranormalt mordmysterium med visst komedifilter. Helt okej. Kan ses på Viddla.

Tjejen mot monstren / Girl vs. Monster (2012) [🔁]

Transmorphers (2007) [👍🔁]

Översättarna / Les Traducteurs (2019) [👍🆓] Småklaustrofobiskt mordmysterium som utspelar sig i en bunker. Intressnt och bra rakt igenom. Kan ses på SVTPlay.

Översättarna ligger kvar till 12 november och Dr. Caligari till den 26e november. Två filmer värda att prioritera denna månad.

[jonathanhulten]

Macken Bryggeri beer labels as designed by Jonathan Hultén (🌹)

True Will, victorian christmas pudding porter Cro-Magnon, belgian strong ale Summerisle, helles bock Quorthon, brown ale Sleepwalker, oatmeal coffee stout Shogun Assassin, ice sake ale

part 1 / part 2 / part 3 / part 4 / part 5

[gurufuk0]

Das Kabinett des Dr. Caligari

Un clásico del cine de horror y un clásico del cine alemán.

Esta película nos narra la historia de un excéntrico personaje que llega a un pueblo con un misterioso acto llamado el Sonambul. A su llegada misteriosas muestra ocurren en este pueblo de construcciones torcidas y calles curvas.

Cuando al final de la película parecen haber logrado descubrir al asesino y castigarlo, todo contra un giro inesperado causando asombro y desconcierto en el espectador.

Vale la pena ver.

4 de 5

[andreamofsheep]

[idyles]

Das Cabinet des Doktor Caligari (1920)

[xarika]

Cesare - Das Kabinett des Doktor Caligari

[korrektheiten]

Fußnoten zum Donnerstag

LePenseur:"von Fragolin   Unvaccinated lives matter. *** Heute vor 134 Jahren wurde eine gewisse Marie Antonie Sieglinde Marta Seubert als Tochter des deutschen königlich niederländischen Oberforstmeisters Adolf Karl Seubert in Indien geboren. Bekannt wurde sie aber als Lil Dagover, eine der bekanntesten Stummfilm-Schauspielerinnen. Unvergessen ihre Rolle im „Cabinet des Dr. Caligari“, einer Art Film gewordener Wahntraum, der mich ob seiner Optik und verwirrenden Handlung - was ist Wahrheit, was ist Wahn? - bereits in jungen Jahren faszinierte. Heute ist dieser Wahn Tagespolitik. *** Zu Lil Dagover, aber auch Brigitte Helm, Asta Nielsen und anderen Schauspielerinnen der Stummfilmzeit möchte ich noch anmerken, dass diese noch wahre „Mimen“ waren, komplett genderfrei, die ihre ganze Rolle ohne ein einziges gesprochenes Wort und in reinen unkolorierten Grautönen allein durch Mimik, Gestik und Blicke ausfüllen konnten. Welch große Kunst, vor der die Herren der damaligen Zeit nicht ohne Grund den damals üblichen Hut zogen und welch kreischenderKontrast zu den heutigen beliebigen Figuren, die sich durch fehlenden Takt, fehlendes Hirn, fehlende Klamotten und fehlende Erkenntnis der eigenen Bedeutungslosigkeit auszeichnen. Sie waren vielleicht nicht die schönsten Frauen ihrer Zeit, aber trotzdem die am meisten bewunderten und am meisten angebeteten. Ich überlege gerade, wer ihnen heute das Wasser reichen könnte. Nein, mir fällt keine ein. Der große Vorteil des Stummfilms: kein geistloses Geplapper. *** Gegenden Mann kämpfen nur jene Frauen, die wissen, dass sie beim Kampf umihn chancenlos sind. *** In Slowenien wird die Brühe von Johnson und Johnson auf Eis gelegt, weil eine Zwanzigjährige nach dem solidarischen „Pieks“ gegen einen Schnupfen „überraschend“ an einem Schlaganfallverstorben ist. Ein bedauerlicher Kollateralschaden im Kampf gegen eine Erkältung. Gleichzeitig kündigt Doktor „Das kommt nicht ins Blut“ Mückstein an, dass in Österreich ab sofort eine Johnson-und-Johnson-Spritze allein nicht mehr als Unterwerfungsnachweis „gültig“ ist und deshalb unbedingt zeitnah eine zweite Ladung nachgespritzt werden muss. In Slowenien wird ein potenziell tödlicher Cocktail verboten, in Österreich wird seine Gabe verdoppelt. Noch Fragen? *** Wer Wasser predigt, trinkt natürlich keinen Wein. Aber Schampus. http://dlvr.it/S8dB37 "

[spatial-design-iii-sem2-ian-blog]

Analysis on Film Noir and understanding its tropes and motif

Film Noir (French: Dark Film) noun A style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. This genre was prevalent to mostly American crime dramas in 1930’s to 1950’s. The common elements that is consist in a film noir are

Lighting – The use of stark high-contrast lighting is the most noticeable aspect of the film. This is inspired from the German expressionist cinema in the silent era. Robert Wiene’s Das Kabinett des Doktor Caligari (1920; The Cabinet of Dr. Caligari) would be the best exemplar of the lighting techniques that is used to inspire the genre. Tilting the camera to present a skewed images and dark atmosphere in which a characters face could only be seen is a visual technique that often used to help define a character and to show emotion such as madness. Plot – The complexity of film noir could be seen in the crime thriller genre and its plots. The plot goal is not to resolve a mystery or enigma but rather the character becomes the mystery and enigma. This then involves the views to come up with their own answer to their own understanding of the film. Location – The location for the stories almost always takes place in a claustrophobic urban jungle, New York, Los Angeles or Chicago. The claustrophobic urban is used to express the inseparable alienation of city life.

Anti-hero protagonist and Femme Fatale – the male protagonist of noir generally shares common qualities to one another. These are moral ambivalence, dry humour and lightning fast dialogue. The male protagonist is often lured into the criminal underbelly by a beautiful but treacherous femme fatale. Femme fatale the male counterparts are well aware of their sexual attractiveness, they are uncanny, ruthlessly manipulative, in order to gain power and wealth.

The Dutch angles A film technique that came interesting in these dark films is the skewed and low angle shots also know now as Dutch angle shot. It’s a method that was popularised by the German Expressionist. The used of Dutch angles in film is to signal the viewers that something is wrong, disorienting, or unsettling.

First photo Double Indemnity (1944); MacMurray, Fred; Stanwyck, BarbaraBarbara Stanwyck and Fred MacMurray in Double Indemnity (1944).

Second Photo The Cabinet of Dr. CaligariRobert Wiene's The Cabinet of Dr. Caligari (1920) exerted a strong influence on the atmospheric lighting techniques of film noir. https://www.britannica.com/art/film-noir/The-noir-hero

[ayumioshimaworks]

《distribution(lurkers)》 2018年 プロジェクション、コピー用紙、テープ

「カリガリ博士」（2018年） 天神山文化プラザ / 岡山 distribution(lurkers) 2018 Projection, copy paper, tape

Installation view of “Das Cabinet des Doktor Caligari”(2018) Tenjinyama Cultural Plaza of Okayama Prefecture, Okayama

[stillellensibley]

Kabinett des Doktor Caligari, Das (1920)

Dennis Schwartz

This is a must see film for historical reasons or if you are a film buff. Its cinematic influence is tremendous on so many great directors that range from Fritz Lang to Billy Wilder. Because of its dark story and unique set designs (these were done by artists Walter Reimann and Walter R鰄rig and designer Hermann Warm), where black paint was used to represent the shadows that were painted on the cardboard scenery of crooked buildings. As a result of WW1, the post-war Germany economy was in a deplorable state and the studio only had one light to use, which couldn't light the entire set adequately. So they improvised and created an eerie style that brought the artistic German Expressionist movement into the film.

This unique film influenced the genres of horror, children's fairy tales, and crime films from the '20s - '50s, and by using the same style of lighting and dark mood as these mystery stories, they became known as noir films after WW11.

The story begins with the tiny but menacing looking Dr. Caligari (Werner Krauss-he remained in Nazi Germany and later on played the anti-Semite in "Jud Suss") going to town hall to get a permit to open a booth at the local fair with his somnambulist act. The painted set of the town hall is cramped with all the buildings on an angle, with narrow passages, low ceilings, gray and black shadows covering the white walls, and the clerks sitting way up on very elongated stools. They react to this mad looking character by laughing at him, until he finally succeeds in getting his permit.

The Cabinet of Dr. Caligari is the story of murder and intrigue set in the small German town of Holstenwall. Francis (Friedric Feher), the narrator, acts as the voice of reason, explaining to the viewer what really happened during that time, as he relates his horror story to an older, skeptical man, as they are viewed sitting on a park bench.

Francis is the young lover and friendly rival of the same sweet girl, Jane (Lil Dagover), of his best friend, Alan (Hans Heinrich). They had the misfortune of attending the carnival and Alan made the fatal mistake of asking the somnambulist Cesare (Conrad Veidt), a thin, ashen appearing man, who is under the charge of Dr. Caligari and awakened by him after an eternal sleep, "How long do I have to live?" Cesare responds, "Until dawn."

True enough, before the next day begins, Alan is seen through the shadows being knifed to death. He is the second murder victim discovered. The town clerk was also killed on the day Dr. Caligari arrived. Francis reports his suspicions to the police that it is Dr. Caligari behind these killings, but the police soon pick up a criminal (Rudolf ) who is about to knife an old lady and charge him with all the murders, even though, he admits only to the attempted murder but not to the other two killings.

Meanwhile, Jane's old man (Lettinger) has disappeared and she goes to the carnival looking for him. She meets Dr. Caligari there and he shows off to her Cesare sleeping like a zombie in his cabinet. Jane gets bad feelings about these two characters, as Dr. Caligari ogles her. So, she leaves.

This seemingly simple murder plot, of a crazed medieval-type of Svengali, who orders his somnambulist to do his killings, is much more complex than that, and it is one of the reasons that this film has meant so much to so many different people at different time periods. A case can be made for it, as an example of what happened to the collective German psyche after the first war and how the degenerate ideals of Nazism seeped into the German being.

The simple explanation for the film's success, a success that is hard to deny, is that the subversive story is an allegory for an evil government (Dr. Caligari) that brainwashes its people (Cesare) to commit crimes it wants carried out. By its odd style, accented mannerisms, all the actors wearing grotesque makeup, and exhibiting a stagy acting method, it becomes a very unsettling film. Through its amazing sets, the film best expresses the insanity of its theme, and the story enhances this theme, as the authorities are shown to be either incompetent or uncaring, and madness proves to be the staple of the film.

It was brought to America by Samuel Goldwyn in 1921 and made an immediate impression on certain knowledgeable film critics in the U.S..

The odd twist the story takes, just when you assume that you know in which direction the film is going, is when Cesare, clad-in-all-black, is ordered into the bedroom of Jane to knife her to death but is instead attracted to her, with thoughts of rape overcoming his command to kill. When she screams and awakens her household, he is forced to kidnap her. This is the story that the narrator is telling.

Francis is convinced that Caligari is behind these crimes, but since he kept watch on him and had the doctor show him Cesare in his cabinet asleep, he has to admit that they did not leave their quarters and, therefore, he reasons, they couldn't have attacked Jane. It will later turn out that there is a dummy there in place of Cesare. But it is all so confusing, that the possibility exists the narrator is just making this whole thing up.

It turns out, there was a mountebank named 'Caligari' in 1612, in Italy, who had a somnambulist that he trained to commit murder. This asylum director must have liked what he read about the evil magician, with the idea that imitation is the best form of flattery, as this book is found in his desk. Francis discovers this secret when he has access to the director's office while visiting the asylum and going through the director's books while waiting for him to return; and, when he sees who the director is, he takes him for the lunatic killer.

The story remains purposefully unclear and bizarre, and in its supposed climax, Caligari is put under restraint by the orderlies, as Francis tells them his story and they find Cesare's dead body. But the story doesn't end on this note.

The reason for the confusion, is that the German government interfered with Robert Wiene's film, who was then forced to use a different beginning and ending to his film where the entire message was supposed to be reversed. They did not want a film with the message that authority is not to be trusted and should be subject to severe questioning.

This story is now viewed from the point of view of a "framing device," as it appears that all that previously happened could be derived from the narrator's deranged imagination.

Francis is now through telling his tale in the park, where he sees his girlfriend go sleepwalking by, and both men return to the asylum where they see Cesare alive and Dr. Caligari coming down the stairs and Jane thinking she is a queen, who refuses his advances by telling him that a queen can't follow the dictates of her heart when it comes to romance. When Francis accuses Caligari of being the killer who was in his fantasy, this time the orderlies, in the film's anticlimax, restrain Francis in a strait-jacket. The last chilling words coming from Dr. Caligari, who is now seen as a more benevolent soul, go loosely like this: boy, have I got a cure for you.

Caligari, however limited in scope, is still a powerhouse of a horror film, a significant breakthrough in style and in expression: a poetical vision. Even in its altered story form, the film is still spellbinding and weird, as its ambiguity makes for many interpretations. It is even possible, to make a case for Francis as being the deranged killer of his best friend. Either Francis or Caligari could be the lunatic. This note of ambiguity, instead of spoiling the story, only adds further intrigue. Everyone realizes that the world we live in has elements of evil and mystery in it. This tale of lunacy smolders in our psyches and allows us to look at this story's skewed world without knowing all the answers. We are left wondering if there could ever be justice in this world, as corrupt powers always seem to have a way of covering up their misdeeds.

Source

[mindcar68-blog]

Crime and Gangster Films



Film title in essay

C RIME & G ANGSTER F ILMS

Part 1

Crime and Gangster Films are developed around the sinister actions of criminals or gangsters, particularly bankrobbers, underworld figures, or ruthless hoodlums who operate outside the law, stealing and violently murdering their way through life. In the 1940s, a new type of crime thriller emerged, more dark and cynical - see the section on film-noir for further examples of crime films. Criminal and gangster films are often categorized as post-war film noir or detective-mystery films - because of underlying similarities between these cinematic forms. Crime films encompass or cross over many levels, and may include at least these different types of films: the gangster film, the detective (or who-dun-it) film, the crime comedy, the suspense-thriller, and the police (procedural) film.

Crime stories in this genre often highlight the life of a crime figure or a crime's victim(s). Or they glorify the rise and fall of a particular criminal(s), gang, bank robber, murderer or lawbreakers in personal power struggles or conflict with law and order figures, an underling or competitive colleague, or a rival gang. Headline-grabbing situations, real-life gangsters, or crime reports have often been used in crime films. Gangster/crime films are usually set in large, crowded cities, to provide a view of the secret world of the criminal: dark nightclubs or streets with lurid neon signs, fast cars, piles of cash, sleazy bars, contraband, seedy living quarters or rooming houses. Exotic locales for crimes often add an element of adventure and wealth. Writers dreamed up appropriate gangland jargon for the tales, such as "tommy guns" or "molls."

Film gangsters are usually materialistic, street-smart, immoral, meglo-maniacal, and self-destructive. Rivalry with other criminals in gangster warfare is often a significant plot characteristic. Crime plots also include questions such as how the criminal will be apprehended by police, private eyes, special agents or lawful authorities, or mysteries such as who stole the valued object. They rise to power with a tough cruel facade while showing an ambitious desire for success and recognition, but underneath they can express sensitivity and gentleness.

Gangster films are often morality tales: Horatio Alger or 'pursuit of the American Dream' success stories turned upside down in which criminals live in an inverted dream world of success and wealth. Often from poor immigrant families, gangster characters often fall prey to crime in the pursuit of wealth, status, and material possessions (clothes and cars), because all other "normal" avenues to the top are unavailable to them. Although they are doomed to failure and inevitable death (usually violent), criminals are sometimes portrayed as the victims of circumstance, because the stories are told from their point of view.

Early Crime-Gangster Films Until the Dawn of the Talkies:

Criminal/gangster films are one of the most enduring and popular film genres. They date back to the early days of film during the silent era. In fact, even Edwin S. Porter's silent short western The Great Train Robbery (1903) has often considered a classic hold-up story and chase film - a movie about crime.

Perhaps the earliest 'crime' film was Sherlock Holmes Baffled (1900), a 45 seconds long short (released in 1903) that was shown one-person at a time in hand-cranked Mutoscope machines or nickelodeons in amusement arcades. It was also the earliest known film featuring Sherlock Holmes. The plot was about how the famed Arthur Conan Doyle detective, a cigar-smoking gentleman, was 'baffled' when a black-clothed thief magically disappeared (through trick-photography) with a sack of stolen goods. Also, The Adventures of Sherlock Holmes (1905), released by Vitagraph (although now a lost film) has been considered the first Sherlock Holmes film since it was created for a theatrical audience rather than as a one-person Mutoscope production.

One of the first films to officially mark the start of the gangster/crime genre was D. W. Griffith's The Musketeers of Pig Alley (1912) about organized crime. It wasn't the first gangster movie ever made, but it was the first significant gangster film that has survived. Outdoor scenes were shot in the gangland territory of NYC's Lower East Side with its slum tenements, and cast members included possible gang members. The story was about a poor, virtuous, and vulnerable Little Lady (Lillian Gish) who was threatened, victimized and terrorized by Snapper Kid (Elmer Booth) - the gangster leader of a gang known as the Musketeers.

[Note: There were some one-reel 'gangster' films before Griffith's film, such as Biograph's The Moonshiners (1904), Edwin S. Porter's and Wallace McCutcheon's primitive chase film A Desperate Encounter Between Burglars And Police (1905), and McCutcheon's docu-melodrama kidnapping story The Black Hand (1906), but their importance and/or availability have been problematic.]

French director Louis Feuillade's Fantomas series from the Gaumont film studio popularized the crime serial - Fantomas (1913-1914, Fr.) featured the character of supercriminal Fantomas (René Navarre). Based on the novels of Marcel Allain and Pierre Souvestre, Fantomas was released as five separate films, running roughly an hour each. Other characters included police inspector Juve (Edmund Breon) and newspaper journalist Fandor (Georges Melchior), who worked to bring down the arch-villain-thief (a master of disguises), who also committed identity theft and murder. The five episodes were:

Fantômas - À L'Ombre de la Guillotine (1913, Fr.) (aka In the Shadow of the Guillotine)

Juve Against Fantomas (1913, Fr.) (aka Juve versus Fantomas)

The Dead Man Who Killed (1913, Fr.) (aka The Murderous Corpse)

Fantomas Against Fantomas (1914, Fr.) (aka Fantomas versus Fantomas)

Le Faux Magistrat (1914, Fr.) (aka The False Magistrate)

Feuillade's later Judex (1916, Fr.), another popular film serial, featured a female criminal.

Traffic in Souls (1913) (aka While New York Sleeps), a six-reel melodrama, was a "photo-drama" expose of white slavery (entrapment of young women into prostitution) at the turn of the century in NYC, although the film exploitatively promised steamy sex in its advertisements. Mutual released The Gangsters and the Girl (1914), a short starring Charles Ray as undercover Detective John Stone investigating neighborhood urban gangs and a wrongly-condemned slum girl.

Raoul Walsh's first feature film, the silent crime drama The Regeneration (1915) has been regarded as the first feature-length gangster film, with presumably the first complex characterization of a criminal anti-hero. It showcased violent lawlessness on the streets of New York (it was shot on location in NYC's Bowery District on the Lower East Side), and the rise of an orphaned Irish-American slum boy named Owen Conway (Rockliffe Fellowes as a 25 year-old adult). He grew up to become a drunken gangster (prone to gambling) due to repressive social conditions in his environment. However, he was 'regenerated' (saved from a life of crime) after falling in love with do-gooder social worker Marie Deering (Anna Q. Nilsson).

The upcoming 1920s decade was a perfect era for the blossoming of the crime genre. It was the period of Prohibition, grimy and overpopulated cities with the lawless spread of speakeasies, corruption, and moonshiners, and the flourishing rise of organized gangster crime.

Josef von Sternberg's gangland melodrama Underworld (1927) with George Bancroft and Clive Brook, reflected the 1920s. It has often been considered the first modern gangster film, with many standard conventions of the crime film - and it was shot from the gangster's point of view. It won the Best Original Story Award for Ben Hecht - the first Oscar ever awarded for an original screenplay, and the first of Hecht's two Oscar wins (among six writing nominations during his career). [The first 'gangster' pulp had the same title, Underworld, a breeding ground for many crime thriller plots.] And Lewis Milestone's The Racket (1928), a Howard Hughes-produced film, concentrated on big-city corruption and a municipality controlled by the mob, and was banned in Chicago because of its negative depiction of the police.

Expressionistic German Crime Films:

Three German directors contributed a number of expressionistic black and white crime films, noted for chiaroscoro lighting, sharp-angled shots, and monstrous characters (i.e., insane scientists or doctors, or crazed individuals):

Robert Wiene's The Cabinet of Dr. Caligari (1919/1920, Germ.) (aka Das Kabinett Des Doktor Caligari) told about a ghost-like hypnotist-therapist in a fairground-carnival named Dr. Caligari (Werner Kraus). He used his power of hypnotism to commit crimes, through his performing somnambulist Cesare (Conrad Veidt). The influential film featured the shadowy, disturbing, distorted, and dream-nightmarish quality of the macabre and stylistic 'Caligari,' with twisted alleyways, lopsided doors, cramped rooms, crooked and overhanging buildings, and skewed cityscapes.

F.W. Murnau's silent classic Sunrise (1927), was about a country village farmer (George O'Brien) who fell for the allure of a sophisticated, vampish seductress/temptress (Margaret Livingston) from the City. She tempted him under the moonlight in a swamp, persuading him to devise a murderous plan to kill his pure, innocent wife (Janet Gaynor) - by drowning her during a trip to the City.

https://custom-researchpaper.com released several important silent crime films - influential post-war films that helped to launch the entire genre in the 1930s, including a series of Dr. Mabuse films about a mastermind character:

Dr. Mabuse, The Gambler (Parts I and II) (1922-1923) - a two-part silent crime melodrama about an evil, criminal boss capable of disguise, conspiracy, and tremendous hypnotic powers.

The Testament of Dr. Mabuse (1933) (aka Das Testament das Dr. Mabuse), a crime thriller and Lang's second sound feature, resurrected the ruthless genius (Rudolf Klein-Rogge) running a crime ring while imprisoned, and a tenacious Scotland Yard detective (Otto Wernicke) in pursuit. The film was noted for a spectacular car chase scene, explosions, and murders. The government interpreted the film as subversive and having anti-Nazi sentiments - causing Lang to hurriedly leave Germany (he soon relocated in the US and ended up directing in Hollywood by 1936). [Note: Ironically, the legendary director's swan-song film (his first film made in Germany since 1933), The 1000 Eyes of Dr. Mabuse (1960), spotlighted the same arch-criminal character.]

Lang's most seminal film was M (1931, Germ.) - his first sound feature (bridging the gap between silents and talkies). It was an expressionistic psychological thriller about a child molester serial killer. The pedophile-psychopath was identified as Hans Beckert (Peter Lorre) - his coat back was marked in chalk with the letter "M." He was caught hiding in an attic, and taken to a large abandoned brewery building to stand trial, where he was questioned by a panel of underworld boss-leaders.

The Gangster Film in the Era of the "Talking Picture":

It wasn't until the sound era and the 1930s that gangster films truly became an entertaining, popular way to attract viewers to the theatres, who were interested in the lawlessness and violence on-screen. The events of the Prohibition Era (until 1933) such as bootlegging and the St. Valentine's Day Massacre of 1929, the existence of real-life gangsters (e.g., Al Capone, John Dillinger, "Pretty Boy" Floyd, "Baby Face" Nelson) and the rise of contemporary organized crime and escalation of urban violence helped to encourage this genre. On the other side were law-enforcing "G-Men" (or "government men") led by the FBI's J. Edgar Hoover.

Many of the sensationalist plots of the early gangster films were taken from the day's newspaper headlines, encouraging the public appetite for crime films. The allied rackets of bootlegging, gambling and prostitution brought these mobsters to folk hero status, and audiences during that time vicariously participated in the gangster's rise to power and wealth - on the big screen. They vicariously experienced the gangster's satisfaction with flaunting the system and feeling the thrill of violence. Movies flaunted the archetypal exploits of swaggering, cruel, wily, tough, and law-defying bootleggers and urban gangsters.

The talkies era accounted for the rise of crime films, because these films couldn't come to life without sound (machine gun fire, screeching brakes, screams, chases through city streets and squealing car tires). The perfection of sound technology and mobile cameras also aided their spread. The first "100% all-talking" picture and, of course, the first sound gangster film was The Lights of New York (1928) - it enhanced the urban crime dramas of the time with crackling dialogue and exciting sound effects of squealing getaway car tires and gunshots. Rouben Mamoulian's City Streets (1931) from a story penned by Dashiell Hammett was reportedly Al Capone's favorite film, starring Gary Cooper and Sylvia Sydney as two lovers trapped by gangland connections. And Tay Garnett's violent Bad Company (1931) was the first picture to feature the gangland massacre on St. Valentine's Day.

Three Classic Early Gangster Films from Warner Bros:

Warner Bros. was considered the gangster studio par excellence, and the star- triumvirate of Warners' gangster cycle, all actors who established and defined their careers as tough-guys in this genre, included Edward G. Robinson, James Cagney, and Humphrey Bogart. Others who were early gangster stars included Paul Muni and George Raft.

Three great classic gangster films (among the first of the talkies) marked the genre's popular acceptance and started the wave of gangster films in the 1930s in the sound era. The lead role in each film (a gangster/criminal or bootleg racketeer of the Prohibition Era) was glorified as he rose to the top with infamy and power, but each one ultimately met his doom in the final violent scenes of these films, due to censors' demands that they receive moral retribution for their crimes.

The first two films in the cycle were released almost simultaneously by Warner Bros, setting the pattern for numerous imitators (with tommy guns, fedoras, double-breasted suits, etc.):

(1) Little Caesar (1930), directed by Mervyn LeRoy, starred Edward G. Robinson as a gritty, coarse and ruthless, petty Chicago killer named Caesar Enrico (or "Rico") Bandello (a flimsy disguise for a characterization of Al Capone), who experienced a rise to prominence and then a rapid downfall. Robinson was the first great gangster star.

(2) The Public Enemy (1931), directed by William Wellman, starred James Cagney (in his first film and breakout role) as a cocky, fast-talking, nasty, and brutal criminal/bootlegger named Tom Powers - most memorable in a vicious scene at the breakfast table where the snarling gangster assaulted his floozy moll girlfriend (Mae Clarke) by pressing a half grapefruit into her face. [Both were still in their pajamas, indicating that they spent the night together.] The startling finale included the door-to-door delivery of Cagney's mummy-wrapped corpse to his mother's house - the bandaged body fell through the front door. The main story was about two brothers, Tom (Cagney) and his straight, uptight brother Mike (Donald Cook) who grew up and pursued very different lifestyles. The pre-Code film emphasized how the early developmental environment clearly contributed to an evolving life of adult crime - and his inevitable gruesome death.

[Note: The same stars were reunited in another Pre-Code quasi-gangster/comedy film, Lady Killer (1933) with Mae Clarke as Cagney's moll, and Cagney as the head of a New York crime ring who must relocate and hide out in Hollywood.]

(3) Scarface: The Shame of the Nation (1932), directed by Howard Hawks, a Howard Hughes' produced film from UA, starred Paul Muni as a power-mad, vicious, immature and beastly hood in Prohibition-Era Chicago (the characterization of Tony Camonte was loosely based on the brutal, murderous racketeer Al Capone). Other stars were George Raft (as his coin-flipping emotion-less, right-hand killer) and Ann Dvorak (as Tony's incestuous sister Cesca).

The ultra-violent, raw landmark film in the depiction of Italian-American immigrant gangsters included twenty-eight deaths, and the first use of a machine gun by a gangster. It was brought to the attention of the Hays Code for its unsympathetic portrayal of criminals, and there was an ensuing struggle over its release and content. The disturbing portrayal of irresponsible behavior by the gangsters almost encouraged its attractiveness. [Note: In tribute over fifty years later, Brian de Palma remade the film with Al Pacino in the title role of Scarface (1983). Ironically, this film was also criticized as being too brutal.]

Both The Public Enemy (1931) and Scarface (1932) tried to deflect criticisms that they were sensationalizing the lifestyle of the hoodlums, with unconvincing prefaces or disclaimers. In particular, Scarface (1932) began with a critical, written statement to indict gangster hoodlumism and the public's and government's indifference. The audience was then blamed for promoting the role of the gangster with its perverse fascination in the phenomenon of mob activity - and then challenged:

"It is the ambition of the authors of 'The Public Enemy' to honestly depict an environment that exists today in a certain strata of American life, rather than glorify the hoodlum or the criminal."

"This picture is an indictment of gang rule in America and of the callous indifference of the government to this constantly increasing menace to our safety and our liberty. Every incident in this picture is the reproduction of an actual occurrence, and the purpose of this picture is to demand of the government: 'What are you going to do about it?' The government is your government. What are YOU going to do about it?"

The Influence of the Hays Production Code on Gangster Films:

The coming of the Hays Production Code in the early 1930s spelled the end to glorifying the criminal, and approval of the ruthless methods and accompanying violence of the gangster lifestyle. The censorship codes of the day in the 1930s, notably the Hays Office, forced studios (particularly after 1934) to make moral pronouncements, present criminals as psychopaths, end the depiction of the gangster as a folk or 'tragic hero,' de-glorify crime, and emphasize that crime didn't pay. It also demanded minimal details shown during brutal crimes.

One way the studios quieted some of the protest and uproar over "America's shame" was to shift the emphasis from the criminal to the racket-busting federal agents, private detectives, or "good guys" on the other side of the law. In William Keighley's G-Men (1935), the best example of this new 'gangster-as-cop' sub-genre, screen tough guy James Cagney starred as a ruthless, revenge-seeking, impulsive, violent FBI agent to infiltrate criminal gangs on a crime spree in the Midwest. Although he was on the side of the law working undercover, he was just as cynical, brutal, and arrogant as he had been in his earliest gangster films.

A police detective (Edward G. Robinson in an against-type role) went undercover and joined a NYC racket in Bullets or Ballots (1936), and in Anatole Litvak's The Amazing Dr. Clitterhouse (1938), Robinson portrayed a brainy crime specialist who joined Rocks Valentine's gang (led by Humphrey Bogart) and soon was masterminding heists. Robinson also starred as a college law professor - and special prosecutor who pursued justice in I Am the Law (1938). Anthony Mann's T-Men (1947) explored the similarities between Treasury Department agents and the counterfeiting criminals they pursued, and emphasized how villains were caught by semi-documentary style crime detection procedures (lineups, fingerprinting analysis, lab work, etc.).

Another developing 'Cain-and-Abel' sub-genre emphasized that crime didn't pay, in films such as Manhattan Melodrama (1934) with childhood friends William Powell and Clark Gable choosing two diametrically opposed lifestyles - prosecuting attorney and gambler/racketeer, and Angels With Dirty Faces (1938) with two young slum kids, James Cagney and Pat O'Brien, following two different paths - a criminal lifestyle (that was idolized by the Dead End Kids on New York's lower East Side) and the priesthood. In the electrifying finale, Cagney was taken on a long walk to his execution.

William Wyler's gangster melodrama Dead End (1937) portrayed the efforts of New York slum dweller (Sylvia Sidney) to keep her gang member brother Tommy (Billy Halop, one of the Dead End Kids) from emulating gangster Humphrey Bogart. The adolescent gang actors (veterans of the Broadway version of Dead End) were introduced in this film and later evolved into the East Side Kids and The Bowery Boys.

[amsaklapper-blog]

Das Cabinet des Doktor Caligari

Movie poster: 1920