--- title: "The Cabinet of Dr. Caligari" year: 1920 kind: "film" canonical: "https://film.one/film/the-cabinet-of-dr-caligari" fi1m_id: "the-cabinet-of-dr-caligari" imdb_id: "tt0010323" tmdb_id: 234 wikidata_id: "Q153886" fi1m_score: 87 critics_score: 86 critics_reviews: 16 published: "2026-09-16" updated: "2026-09-18T08:38:34.855897+00:00" region: "AU" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Cabinet of Dr. Caligari (1920) Directed by Robert Wiene · 1h 17m · Drama, Horror, Thriller, Crime ## Identity The Cabinet of Dr. Caligari - **Canonical:** https://film.one/film/the-cabinet-of-dr-caligari - **Type:** Film - **Fi1m ID:** the-cabinet-of-dr-caligari - **IMDb ID:** tt0010323 - **TMDB ID:** 234 - **Wikidata ID:** Q153886 - **Same entity:** https://www.imdb.com/title/tt0010323/, https://www.themoviedb.org/movie/234, https://www.wikidata.org/wiki/Q153886 **Fi1m score: 87** · Critics 86 from 16 reviews *In a sentence:* Even the walls look as though they need a lie-down > Robert Wiene’s silent horror still unsettles, chiefly through Conrad Veidt and sets that give the eye nowhere comfortable to rest. The relentless crookedness occasionally grows tiresome, but we recommend it warmly. ## Synopsis Dr. Caligari (Werner Krauss), Cesare (Conrad Veidt) and Francis (Friedrich Feher) are the central figures in a mystery told through stories within stories. Jane (Lil Dagover) and Alan (Hans Heinrich von Twardowski) also inhabit its surroundings of tilted walls, jagged backdrops and painted shadows. Ordinary perspective gives way to sloping angles, while the performers use gestures and expressions that do not aim for naturalism. This silent horror film moves through nested flashbacks, placing its characters in spaces shaped by fear, suspicion and menace. ## Review Robert Wiene’s *The Cabinet of Dr. Caligari* is a rewarding horror film, provided we accept that it intends to keep almost everything looking wrong. We recommend it warmly, with a warning that its unbroken visual strain can become tiring. This 1920 silent film makes fear visible in the scenery, rather than leaving the actors to supply it all. The sloping perspectives and jagged backdrops tell us not to relax long before the mystery has much explaining to do. Hermann Warm, Walter Röhrig and Walter Reimann deserve much of the credit for that unease. Their production design uses crooked angles and painted light to make the surroundings as disturbing as the people. We felt trapped by those tilted walls and shadows, because even the places that should give the eye somewhere to rest seem to lean against it. The sets are plainly constructed, and their lack of realism is part of what makes them work: there is no familiar, ordinary space against which to measure the strange behaviour. Conrad Veidt is the performer most at home here. As Cesare, he gives the exaggerated acting a precision that makes it unsettling rather than merely emphatic. Werner Krauss’s Dr. Caligari is a broader presence, and there is pleasure in how readily he belongs among these improbable shapes. Friedrich Feher’s Francis and Lil Dagover’s Jane are less arresting; beside Veidt, their expressions of distress can feel like instructions about how we ought to react. That imbalance matters, because the scenery is already doing plenty of instructing. Willy Hameister’s cinematography gives the painted light and dark the clarity they need, without trying to make the rooms look plausible. The pleasure lies in being able to examine their shapes, even while those shapes make the space difficult to settle into. That gives the film a different rhythm from horror built around sudden shocks: looking is itself an uneasy activity. Giuseppe Becce and Alfredo Antonini are credited for music, though it is the painted shadows that stay with us when we think back on the film. The reservation is repetition. When every angle signals danger, a fresh stretch of distorted scenery has to work harder to disturb us, and occasionally the effect becomes decorative. Carl Mayer and Hans Janowitz’s screenplay keeps a mystery running through these surroundings, but the elaborate storytelling can seem less compelling than a single image of Cesare. The cutting helps maintain forward movement; it cannot always stop us noticing how insistently the film returns to the same visual pressure. At 77 minutes, there is still room for the feeling that a quieter passage would have helped. For all that, *The Cabinet of Dr. Caligari* makes a persuasive case for horror that does not try to reproduce ordinary life. Its influence on the genre is substantial, but that is a poor reason to ask anyone to sit through a film; the test is whether the pictures can still unsettle us. These can, particularly when Veidt is given our attention. Try it if carefully arranged strangeness appeals, and allow the exaggerated acting a little time to stop seeming like an obstacle. *Fi1m score 87, published 16 September 2026.* ## What the critics say The reviews are unanimously positive, with praise centred on the jagged Expressionist sets, painted shadows and distorted perspectives that make fear visible. Most critics regard the film as foundational to horror, but also stress its continuing ability to unsettle rather than treating it merely as a historical milestone. Conrad Veidt and Werner Krauss receive particular praise for their performances. Several reviews also credit the restorations with making the visual detail clearer while preserving the film’s character. The differences concern the degree of enthusiasm, with scores ranging from warm approval to outright celebration. The New Yorker offers the clearest reservation about the style itself, finding that the décor can become monotonous and the acting limited. Collider raises a separate concern about the framing story weakening the anti-authoritarian message. Neither reservation overturns those critics’ appreciation, and there is no substantial negative dissent in this selection. ## Straight answers **Is The Cabinet of Dr. Caligari worth watching?** *The Cabinet of Dr. Caligari* is worth watching for anyone who can accept a silent horror film in which almost everything is meant to look wrong, and we scored it 87. Conrad Veidt and the tilted, painted sets still unsettle; the unbroken visual strain does grow tiring across 77 minutes. Give the exaggerated acting a little time before deciding. **How long is The Cabinet of Dr. Caligari, and what is it rated?** *The Cabinet of Dr. Caligari* runs 1h 17m. It is a drama and horror film. **Where can I watch The Cabinet of Dr. Caligari in Australia?** *The Cabinet of Dr. Caligari* is not on any streaming or rental service in Australia at the moment. It is available in 12 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is The Cabinet of Dr. Caligari, and is it suitable for children?** *The Cabinet of Dr. Caligari* carries a U certificate in the UK, so nothing in it is explicit or graphic. Its fear comes from crooked scenery, painted shadows and the strange, slow menace of Conrad Veidt's Cesare rather than from violence shown on screen. Small children may find the silent, distorted world eerie or simply baffling; older ones should be fine. **How does The Cabinet of Dr. Caligari compare to The Night of the Hunter?** *The Cabinet of Dr. Caligari* is the more relentless and the more purely strange of the two, while [*The Night of the Hunter*](https://film.one/film/the-night-of-the-hunter) has the same deep shadows and theatrical menace but makes room for tenderness and a story that is easier to follow. We think Laughton's film is the better one, and the easier place to begin. Caligari suits those drawn to arranged strangeness for its own sake. **What should I watch after The Cabinet of Dr. Caligari?** After *The Cabinet of Dr. Caligari*, try [*Nosferatu*](https://film.one/film/nosferatu-1922) (1922, Fi1m 88): Another silent horror whose unnatural figures make ordinary spaces feel unsafe. Then [*The Night of the Hunter*](https://film.one/film/the-night-of-the-hunter) (1955, Fi1m 91): Deep shadows and theatrical menace, with room for tenderness as well; and [*Eraserhead*](https://film.one/film/eraserhead) (1977, Fi1m 84): A more abrasive nightmare, with equally little interest in reassuring surroundings. ### Reviews we read (16) - **Time Out**, DP (5/5): The critic calls it one of the most exciting and inspired horror movies ever made, full of expressionist paranoia and gloom from post-WWI Germany. They single out the extraordinary use of painted light and Conrad Veidt’s marvellous performance for praise. [Read](https://www.timeout.com/movies/the-cabinet-of-dr-caligari) - **Empire**, Anna Smith (90/100, inferred): The critic praises the 4K restoration of the 1920 silent classic, highlighting its jagged Expressionist sets, non-naturalistic acting, nested flashbacks, and enduring twist ending as reasons it remains a disorienting masterpiece worth seeing on the big screen. [Read](https://www.empireonline.com/movies/reviews/cabinet-dr-caligari-review/) - **RogerEbert.com**, Roger Ebert (90/100, inferred): The film creates a mindscape of subjective psychological fantasy through its jagged, tilted Expressionist sets, making it arguably the first true horror movie. Ebert praises its unsettling visual style and lasting influence on the genre. [Read](https://www.rogerebert.com/reviews/great-movie-the-cabinet-of-dr-caligari-1920) - **Sight and Sound**, Alex Barrett (90/100, inferred): The critic celebrates the film as a landmark of silent cinema and one of the first true horror films that helped establish cinema as an art form. They single out its innovative expressionist set design and ambiguous frame story with twist ending for particular praise. [Read](https://www.bfi.org.uk/features/100-years-cabinet-dr-caligari) - **The Guardian**, Philip French (90/100, inferred): French praises this exceptional restoration of the 1920 expressionist masterpiece as probably the best version anyone alive has seen, accompanied by a strong documentary on its Weimar-era context. He finds the film as arresting and provocative as ever despite past criticisms of it as dated or overrated. [Read](https://www.theguardian.com/film/2014/oct/05/cabinet-of-dr-caligari-dvd-review-classic-french) - **The Times**, Kate Muir (90/100, inferred): Muir highlights the splendid digital restoration that removes scratches and jump-cuts from old prints, making the German Expressionist classic deserving of fresh viewing. She calls it the mother lode of the horror genre, full of pop-eyed terror, lunatics, murderers and possessed somnambulists in eerie shadows. [Read](https://www.thetimes.com/travel/destinations/europe-travel/germany/berlin/the-cabinet-of-dr-caligari-chd7q6bkdg8) - **Slant Magazine**, Clayton Dillard (85/100, inferred): The critic praises the film's pioneering Expressionist imagery and enduring status as cinema's preeminent embodiment of dreamlike anguish, while noting its embedded queer narrative. They single out the 4K restoration for its improved sharpness and the way it preserves the film's filmic qualities. [Read](https://www.slantmagazine.com/dvd/the-cabinet-of-dr-caligari-4k-uhd-blu-ray-review-robert-weine/) - **Los Angeles Times**, Mark Chalon Smith (80/100, inferred): The 1919 film is a true milestone as the first horror movie and the first to use set design symbolically rather than as mere backdrop. Smith highlights its twisted angles, darkened spaces, and deeper meaning as a metaphor for insanity and authoritarian threat. [Read](https://www.latimes.com/archives/la-xpm-1993-10-28-ol-50386-story.html) - **Variety**, Variety Staff (75/100, inferred): The German film is a morbid mystery told in the Poe manner that prods interest at a high pace through its direction, cutting, and distinctive settings. The review praises the performances, especially Werner Krauss as Caligari, while noting the story’s twists. [Read](https://variety.com/1918/film/reviews/das-cabinett-des-dr-caligari-1200409310/) - **The New Yorker**, Pauline Kael (70/100, inferred): The film confines the audience in the madman’s distorted, angular world of fears and menace through its expressionistic sets. Kael calls it a famous masterpiece and radical advance in technique but cautions that the décor can feel monotonous and the acting limited. [Read](https://www.newyorker.com/goings-on-about-town/movies/cabinet-dr-caligari) - **Eye for Film**, Jennie Kermode (90/100, inferred): This is cinema's first true horror classic and one of its earliest masterpieces, meticulously crafted with groundbreaking techniques and unmatched striking imagery. The critic singles out the Expressionist sets as a conscious artistic statement that elevated film to high art. [Read](https://www.eyeforfilm.co.uk/review/the-cabinet-of-dr-cagliari-1920-film-review-by-jennie-kermode) - **Paste**, Jim Vorel (90/100, inferred): The critic highlights the film's transformative impact on horror and German Expressionism through its innovative visuals and narrative techniques like the twist ending and unreliable narrator, calling it a foundational work that deserves to be seen. [Read](https://www.pastemagazine.com/movies/horror-movies/best-horror-movie-of-1920-caligari) - **Den of Geek**, Jim Knipfel (85/100, inferred): The piece celebrates the 1920 film as the first true horror movie and a pioneering work of German Expressionism whose distorted sets and visuals invented key genre tropes. It singles out the film's groundbreaking painted backdrops and unbalanced perspectives for creating an immersive nightmare world that influenced everything from film noir to modern horror. [Read](https://www.denofgeek.com/movies/the-cabinet-of-dr-caligari-the-worlds-first-horror-movie/) - **HeyUGuys**, Gary Green (85/100, inferred): The re-release restoration highlights the film's pioneering Expressionist style and its foundational role in psychological thrillers, horror, and noir. The critic praises the striking, geometrically distorted sets and the narrative's exploration of madness and unreliable reality. [Read](https://www.heyuguys.com/das-cabinet-des-dr-caligari-review/) - **Collider**, Dave Trumbore (80/100, inferred): The critic praises the film's historical significance, unique presentation, and its role in founding modern horror, while noting a potential criticism of the framing story undermining the anti-authoritarian message. The visuals and story are still enjoyable today. [Read](https://collider.com/edgar-wright-1000-films-cabinet-of-dr-caligari-review/) - **The Skinny**, Jamie Dunn (80/100, inferred): The retrospective hails Caligari as a wild horror masterpiece that wholly immerses viewers in a subjective psychological fantasy through its cock-eyed, violent set design. It singles out the jaw-dropping art direction by Hermann Warm, Walter Reimann and Walter Röhrig for making every frame scream dread and madness while birthing Expressionist cinema and influencing later filmmakers like Lynch and Burton. [Read](https://www.theskinny.co.uk/film/opinion/how-the-cabinet-of-dr-caligari-changed-cinema) ## Details - **Director:** Robert Wiene - **Director:** Robert Wiene - **Screenplay:** Hans Janowitz, Carl Mayer - **Cinematography:** Willy Hameister - **Music:** Giuseppe Becce, Alfredo Antonini - **Production design:** Walter Reimann, Walter Röhrig, Hermann Warm - **Producer:** Erich Pommer, Rudolf Meinert - **Cast:** Werner Krauss as Dr. Caligari; Conrad Veidt as Cesare; Friedrich Feher as Francis; Lil Dagover as Jane; Hans Heinrich von Twardowski as Alan; Rudolf Lettinger as Dr. Olsen; Henri Peters-Arnolds as Young Doctor (uncredited); Rudolf Klein-Rogge as Criminal (uncredited) - **Runtime:** 1h 17m - **First release (Germany):** 26 February 1920 - **Genres:** Drama, Horror, Thriller, Crime - **Budget:** $18,000 - **Box office:** $8,811 - **Trailer:** https://www.youtube.com/watch?v=6_uvMK0dbMY ## Where to watch in Australia Not streaming, renting or buying in Australia at the last check. Also available in: AR, BR, CA, CL, CO, DK, FI, NO, PA, SE, TR, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Nosferatu* (1922), Fi1m 88: Another silent horror whose unnatural figures make ordinary spaces feel unsafe. — [Fi1m page](https://film.one/film/nosferatu-1922.md) - *The Night of the Hunter* (1955), Fi1m 91: Deep shadows and theatrical menace, with room for tenderness as well. — [Fi1m page](https://film.one/film/the-night-of-the-hunter.md) - *Onibaba* (1964): For dread built from bodies, landscape and the difficulty of hiding. - *Eraserhead* (1977), Fi1m 84: A more abrasive nightmare, with equally little interest in reassuring surroundings. — [Fi1m page](https://film.one/film/eraserhead.md) - *The Wolf House* (2018): Rooms keep changing shape in animation that makes shelter feel unreliable. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-cabinet-of-dr-caligari