According to Siegfried Kracauer's well-known introduction to the political stream of images, the six-act play does not have the spinal cords of Hans Janowitz and Carl Mayer. A film about an ordinary murder may have long been forgotten. The first act Janovich was born in Bohemia in 1890. He spent his early years in Prague. He published his first short story when he was 17. Schauspielhaus) playwright. At that time, he had been exposed to this kind of art form in the expressionist magazine "Arkadia" published in Prague. Enlisted in the army in 1914, joined the Austrian camp of the Austro-Hungarian Empire, and was promoted to the title of captain. In July 1917, Janovic’s younger brother Franz Janovic was seriously injured on the front lines in Italy and died three months later. His grief-stricken brother scorned the authoritarian government and the completely avoidable war. Mentality. In 1918, Ernst Deutsche, a friend and actor who left Janowice, introduced and met the legendary Carl Mayu. Born in the family of an Austrian businessman, Mei Yu's father became addicted to gambling, and finally ended his bleak life by hanging himself. When Mei Yu was 16 years old, he was kicked out of the house by his father and took on the responsibility of taking care of his three younger brothers. After doing weird jobs, as long as he can earn a few dollars, he has become a playwright, director, and designer all the way from the theater. In June 1918, Mei Yu will be the actress Gilda Langer was introduced to Janovic, who fell in love with Langer at first sight. Langer suggested that the two cooperate. In the original script setting of "Caligari", Langer's positioning is precisely Jane, who is mixed in the emotional entanglement between Franzis and Alan. Act Two From 1918 to 19, Janovic and Mei Yu began to conceive the script. Janowitz expanded his experience on the Reeperbahn (now known as the red light district) in Hamburg in 1913, not far from Holstenwall: Meiyu who wandered at night met a drunk woman, out of curiosity , Followed for a while, until the woman disappeared into the bushes, and soon an unrecognizable bourgeois man sprang from the bushes. The next day Mei Yu learned of the murder last night from the newspapers. Mei Yu thought about it in fear and knew that he had met the murderer. The script creation lasted 6 weeks, and the two claimed that the script had 168 scenes (in fact, 141) until the end that the script and the protagonist's name were determined. According to Janovic’s dictation, “Caligari comes from a very small-circulation book “The Unknown Letters of Stendhal”. The book mentions that Stendhal met a man at La Scala in Milan. Called Caligali's official.” The two believed that Caligali's appearance should be closer to Schopenhauer. In the third act, the two screenwriters at the end of the game tried their best to sell the script. After being introduced by Fritz Lang, the two met with Erich Pommer, then chief producer of Decla-Bioscop production company. After reading the script aloud, Permeyer accepted the proposal and offered a price of 4,000 marks. Permeyer believes that the form of the Grand Guignol (Grand Guignol) that is first emerging in the German film scene: bloody, strange, and appalling sensory stimulation will bring unprecedented topicality. The story of the murder in Holstenwall is exactly what he wanted to use. At that time, Decla-Bioscop produced only two films, namely "The Plague in Florence" (Die Pest in Florenz; 1919) and Fritz Lang's "Spider I" (Die Spinnen, I; 1919). Yanovich and Mei Yu originally intended the director to recognize Fritz Lang, but Decla ordered "Spider II", Lang couldn't get away, and finally turned to Robert Wiene. Janovitch also planned to let her mate Gilda Langer play the role of Jane, but Langer died of Spanish flu in early January 1920, and chose a corner to Lil Dagover. Lil Dagover has worked with Conrad Veidt (pronounced V-fight in ight) many times before. Werner Krauss and Werner participated in expressionism in 1918. Drama works. Klaus recalled: "The three of us had to put on different makeup. Look at (this) scene design. Connie (Conrad's nickname) emphasized the lower eyeliner. I had to wear a wig and a fake nose. City There is an old clothing store in the basement, "I need a Havelock hat and a top hat, an ivory cane, and a very retro cloak." The director's assistant brought it up. With the intervention of the art director, the filming started.” In Act 4, Janovic originally envisaged Kandinsky as the art director of the film, but Kandinsky was busy with solo exhibitions and tactfully refused. When the two screenwriters handed over the script to Permel, they suggested that they should still move closer to Cubism. In 1909, Kandinsky, the chairman of the Munich New Artists Association, made a public speech to stand up against the Impressionist, with a new art form: expressionism. The artist transforms his perception of the outside world into his inner feeling, removing irrelevant impurities and showing the necessary ingredients. This is expressionism. The short-lived expressionism has diversified forms, from painting, sculpture to drama and even the actors themselves have expressionist "genre of performance." The streets and alleys of Germany are full of expressionist elements, which permeate every corner and become such a sparse and common topic as grocery shopping. And art is no longer art at all, it has become a strange phenomenon that all people are experts in cats and dogs. Decla has only one place at this time by Vitascope In the glass room studio established by GmbH in 1913, there are two main factors for the production of the works in the studio: one is the conditions, and the other is a money-saving tool. Inferring from the structure of the buildings that the characters circled repeatedly and next to each other, the Lixie-Atelier studio in Weissensee may cover an area of no more than 36 square meters, and the cramped shooting space has brought difficulties to art resetting. When "Dr. Caligari's Cabin" became a hot spot again after World War II, everyone wanted to get a share of it. Rudolf Meinert, who replaced Permeyer as the film producer, believes that the top of the building in vain, the perverse light emphasis, and the performance of the characters standing against the wall are all his credit. But according to the three art directors Hermann Warm, Walter Röhrig and Walter Reimann, this is not the case. Young artists who are fascinated by their eyes and eyes are unlikely to be affected by expressionism at all. There is only one reason for applying this art form to the film: to show the scale of a town with visual differences. The documentary of contemporary characters predicted by the two screenwriters has also become the chaos of the times. Caligari is dressed in the Bismarck period, Jane’s dress is in the 18th-century romantic style, and the two friends Franzis and Alan are the current popular costumes. Cesare, a somnambulist patient, transcends the concept of time. Before Krakauer arbitrarily identified Expressionism as a political metaphor, none of the film reviews believed that strange artistic expressions could be linked to the hidden crisis of the Nazis (for example, Krakauer believed that the rotating scene in the Holstenwall carnival scene) The Trojan horse means an uneasy riot, as a proper 50 cents, his shocking over-interpretation casts an unclear omen on the film). Act Five Fritz Lang, who has always been deviated in his rhetoric, believes that when Permeyer handed over the script to him, there was already a cover of Cubist (?) style. He believed that such a story should be connected to the story in an orderly manner. But such a statement is absolutely unreliable. Wayne was appointed after Longin declined "Dr. Caligari's Cabin" because of the schedule. At this time, the script was still intact, and the artistic expression form had not yet been established. During the filming, a lot of evidence showed that the two screenwriters never appeared on the set. It was not until the filming was completed that it was learned that the "No Unauthorized Modification" script had been rewritten beyond recognition and turned into a new frame structure (Rahmenerzählung) story, which connects the whole story in the form of characters telling the preface and epilogue. The names of the characters in the original script are completely different from those in the film: Caligari, Caligari’s name was originally Calligarris, Jane’s father’s last name is Olfen Olfen, Alan’s name is Allan or Alland, and the mob who deliberately murdered the old woman is not named in the film. , But his name is Jakob Straat in the original script. Not only that, the metaphor of Caligari as the tyranny imposed by authoritarianism on ordinary people has completely turned into a story of lunatics. The two screenwriters are angry at the reality of the film, and the producer and director Wein Zhi The discord between time has never stopped. Janovich wrote in 1941: "The content of our original work against the government has been unwarranted." This comment directly or indirectly led to Krakauer, who wrote a German film essay for the Museum of Modern Art. Expanded into the connection between film and politics in the pre-Third Reich period. On February 26, 1920, the film premiered at Marmorhaus in Berlin. At that time, people's response to the film was unprecedented. It is said that Caligali ordered Cesare, a sleepwalker, to wake up from his sleep. Cesare, who opened his eyes, caused many viewers to scream and even fainted. After the First World War, due to the closed-door policy, Germany strictly prohibited foreign films except Denmark from entering the domestic market. This set a good prerequisite for domestic production companies, from 30 in 1913 to 250 in 1919. In 1917, Ludendorff announced the establishment of Ufa (UFA) to merge large and small companies. In 1918, Deutsche Bank took over Ufa in an attempt to bring Germany, which had no place in the world after the war, to the world again. Ernst Lubitsch's magnificent historical (comedy) drama (Kolossal) and Joe Mei (Joe Mei) May)’s film serves as a stepping stone to try to open up overseas markets. The resistance of German films in overseas markets is still due to the notoriety of World War I (the UK imposed a five-year ban on screenings, and the French method was more cruel, which was added to 15 years). "Dr. Caligari's Cabin", as a beneficiary of the 1920 "Reich Film Act" (Reich Film Act), was the first to enter overseas markets. It was treated differently when it was released in the United States. Ironically, when it premiered at the Capitol Theatre in New York on April 3, 1920, the two screenwriters never thought that they would suffer another nightmare. The theater invited an actor to give a live speech on Franzis's opening remarks to the old man in the film, and concluded that "Franzis has recovered." In contrast to the German people's use of images to paralyze themselves after World War I, the happy Hollywood "adapted" ending is the fake "humanitarian" of DreamWorks. Paul Leni traveled across the ocean to film "The Man" (The Man) Who Laughs, I don’t think I need to mention the example of 1928). Act 6 "Dr. Caligari's Cabin" has made it into the annals of film history for its artistic achievements. Its shadow shooting technique has influenced generations of horror genres, and the remake has become a matter of course. In 1934, Robert Wein, who was already far away from his motherland, bought back the film rights from Ufa and traveled back and forth between London and Paris to prepare for filming. He originally planned to ask Jean Cocteau to play the role of the ghostly sleepwalker Cesare. An unsigned French manuscript pointed out (looks at the handwriting, most likely written by Wayne himself) that this remade "house" will replace the expressionism of the 1920s with a more modern surrealist art form. But afterwards, Cocteau took a critical attitude towards this controversial silent film. He commented: “The film was wrong in the first place by replacing the imagery charm of the camera with a flattened, photo-like weird picture.” Hey Permel and Yanovich also had the idea of remakes after they went into exile in the United States. Yanovich never agreed with Wien's expressionist approach. But the remake of the duo was full of hardships, because the copyright must first be taken back. The transfer of the film copyright to Robert Wayne naturally conflicted with Janovic's wishes. Secondly, after the death of Wayne in 1938, the Third Reich rose rapidly, and the law on the protection of silent and sound films was promulgated to prevent foreign powers from stealing artistic assets. For former producers and screenwriters who settled in the United States for survival-critical reasons, this became the biggest obstacle. In early 1945, Janovich (who may have taken the copyright back) might pass the script to Fritz Lang to re-direct "Dr. Caligari's Cabin" and name it "Caligari II." It is a pity that neither his vision nor the film was successful. In 1947, he contacted Ernst Matray, another German who immigrated to the United States, and switched to the production of the new "house" "The Return of Calgary". British director Victor Saville expressed interest in this project (the director in 1937 Director of "Dark Journey" [Dark Journey], in which the male protagonist is Conrad Waite, and the female protagonist is Vivien Leigh). In this new version, Dr. Caligari is portrayed as a former Nazi officer (not photographed). It was not until the death of Janovich that 20th Century Fox finally got the film rights. In 1962, it was produced by the company, with Roger Kay as the director. Hebong’s "Psycho, 1960) Robert Bloch, the author of the original novel, restructured the content of the story for the new edition. This new version of "The Cabin" has little to do with the original version. Glynis Johns plays a patient imprisoned by Dr. Caligari (played by Dan O'Herlichy). At the end of the film, the secret is revealed to the audience. All the bizarre stories are fantasies of the patient: Caligari is just a doctor who treats her mental illness and finally understands the cause of her illness. In 2005, Highlander Production Company appointed David Lee Fisher to re-shoot "The Cabin". The image presented in front of the audience and the 20' version of the film are like twin brothers who have been separated for many years, because most of the same scenes in the film were shot before the green screen. The expressionist set created by Hermann Warm, Walter Röhrig and Walter Reimann was in the later stage. Add it in. The development of the story is roughly the same as the original version. There are only a few differences. For example, Jane is not the only daughter, and there is a brother. After Cesare (played by Doug Jones, the queen of the house fat top) forcibly abducted Jane, he chased her to the woods from Stabbed to death a somnambulist patient behind his back; and the storyteller Francis (Franzis in the German card subtitle) was the patient number of the Calgary Mental Hospital. In his story, his friend Alan, who was killed, was a nurse in the hospital. Live well. The turning point of the ending is bright, but imitating Mannerism, completely misunderstanding that expressionism is simply a unique art on the surface, without considering the factors of the times and backgrounds, it is completely unnecessary to learn a furry remake. However, after Krakauer's refined political stream film reviews, it is difficult for later generations to view the films of Weimar Germany from the frame of arbitrary extension. Over-interpreted analysis and unbelievable associations are still rampant among film critics or fans. In 1975, French film critic CB Clermont (CB Clément used Freud’s tone to comment on Caligali’s taking Jane to visit his humble cabin. He thought it was no different from an exhibitionist showing his private parts to an ignorant girl, lying straight in the "coffin." "Cesare, the sleepwalking patient in "This is the state of exposing erection (I think that's a fucking shit). In Freud's "Dream Interpretation", he believes that all dreams are related to childhood sexual contact. In his dream, the spiraling stairs appeared, he thought it was a symbol of friendship between men and women. When "Dr. Caligari's Cabin" was released in the United States, the "New York Times" once compared the film to a "naked girl going down the stairs" (Duchamp) in a moving image. I don't know why the "New York Times" cited this work expelled by Cubists, but one thing is for sure. The over-interpretation distorted the serial murders under the packaging of expressionism. And the defiled see the defilement, so there is no need to put a high hat on theory and doctrine and be self-righteous. What you think is what you see, what "Dr. Caligari's Cabin" looks like in your eyes, what it is like. References: 1. Robinson, D., (2011). Das Cabinet des Dr. Caligari. 6th (ed). London: British Film Institute 2. Prawer, SS, (1980). Caligari's Children. Oxford: Da Capo Press, Inc. pp. 164-200 3. Soister, JT, (2009). Conrad Veidt on Screen. 2nd (ed). North California: McFarland & Company, Inc., Publishers. pp. 94-100 4. Krakauer, Qi., (2008) From Caligali to Hitler: The Psychological History of German Cinema. First edition. Shanghai: Century Wenjing pp. 59-75-Das Ende-[The copyright of the article belongs to M_9413. Official account: Nachaqi's milk] [Do not use it for commercial purposes, please indicate the source if reprinted. 】59-75-Das Ende-[The copyright of the article belongs to M_9413. Official account: Nachaqi's milk] [Do not use it for commercial purposes, please indicate the source if reprinted. 】59-75-Das Ende-[The copyright of the article belongs to M_9413. Official account: Nachaqi's milk] [Do not use it for commercial purposes, please indicate the source if reprinted. 】Caligari's Children. Oxford: Da Capo Press, Inc. pp. 164-200 3. Soister, JT, (2009). Conrad Veidt on Screen. 2nd (ed). North California: McFarland & Company, Inc., Publishers. pp. 94-100 4. Krakauer, Qi., (2008) From Caligari to Hitler: The Psychological History of German Cinema. First edition. Shanghai: Century Wenjing pp. 59-75-Das Ende-[The copyright of the article belongs to M_9413. Official account: Nachaqi's milk] [Do not use it for commercial purposes, please indicate the source if reprinted. 】Caligari's Children. Oxford: Da Capo Press, Inc. pp. 164-200 3. Soister, JT, (2009). Conrad Veidt on Screen. 2nd (ed). North California: McFarland & Company, Inc., Publishers. pp. 94-100 4. Krakauer, Qi., (2008) From Caligari to Hitler: The Psychological History of German Cinema. First edition. Shanghai: Century Wenjing pp. 59-75-Das Ende-[The copyright of the article belongs to M_9413. Official account: Nachaqi's milk] [Do not use it for commercial purposes, please indicate the source if reprinted. 】
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