Directed by Robert Wiene
Position on the list (at time of viewing): 190
If A Trip to the Moon was a dream somehow committed to film, then this is the same process applied to a nightmare. Exploding onto the worldwide film scene like few movies before or since, this movie singlehandedly put Germany on the map as a center of art film, as well as being a seminal work in the horror genre and even establishing some of the principles of film noir more than two decades before the term would even be coined. It also innovated in terms of structure, being one of the first films to utilize a framing narrative to tell its story. Most of the movie is a flashback as Francis (Friedrich Feher) tells the story of what became of his best friend. The plot centers around the creepy Dr. Caligari (Werner Krauss), and his sideshow somnambulist Cesare (Conrad Veidt), who perform at the local fair and may also be the source of a series of violent murders afflicting the town. Francis’ best friend Alan (Hans Heinrich von Twardowski) is caught up in their schemes, and tragedy is the inevitable result.
Although the plot is actually really interesting here (the film is also one of the first examples of a surprise or twist ending to the narrative), it’s not what the movie is most famous for. No, this movie is remembered for its pure, undiluted nightmare visuals. From the minute Francis begins telling the story of the little town of Holstenwall, pretty much everything the viewer sees is terrifying, even the most innocuous scenes and events. The film works largely because of the power of its imagery (strange and exaggerated), lighting (stark and bold), and set design (artificial but meticulously detailed). The sets are wonders to behold, and their detail and evocative nature are better than anything that comes for years and years after. Everything the viewer sees just screams ‘panicked fever dream.’
The acting is just as stilted as anything else from the era, but in a stroke of genius (or perhaps just luck) that actually works for the movie instead of against it. Because of the strange, dreamlike nature of the entire affair, the strange acting just comes off as a natural part of the otherwise bizarre atmosphere. Of course people are going to look and speak strangely in your nightmares! The actors (especially Krauss) were very involved in the development of their characters, and contributed significantly to the process of bringing them to life, suggesting makeup and performance changes that were adopted by the director. Everyone here is excellent, offputting and strange and never quite allowing the viewer to relax. Everything just feels subtly wrong throughout the whole story, almost entirely due to the choices made by the director and actors. It’s very impressive.
This film is also a foundational work in the horror genre. Although it bears little resemblance to a horror film of today (there’s nary a jump scare to be found), it does a wonderful job of establishing a sense of dread that pervades the whole movie. Think more along the lines of The VVitch or Rosemary’s Baby. Its use of the idea of the Uncanny or the Other is absolutely excellent. Often just the framing and lighting of a shot produce a strong sense of unease. Some of the versions that you can get also use period-accurate color-coding of the scenes, which adds another layer of impressionistic imagery to the already striking visuals. The stills can’t really do it justice–it has to be seen to be believed.
There are honestly very few downsides to giving this movie a chance. It’s narratively inventive, visually revolutionary, and deeply disturbing. I wouldn’t necessarily say that it’s for everyone. If you really dislike horror or the visuals are a turn off for you, it might still be a pass. It’s also still very much a product of its time, but this is perhaps the first movie to really transcend the trappings of its period in a meaningful way. An indelible influence on its many successors, it is still absolutely worth watching in its own right.
Overall: 
