An exceptional wreckage, if this was a physical destruction, it would have been a Roland Emmerich film.
Robert Weine is often accused of blessing the cinema life with this first horror. And it is scary. Probably because it gives us very little time to breathe. Not in the sense that the film is compact or zooms out in front of us with a great pace. If anything it settles in just fine. Just fine enough to let the debates brew in your head. And it is a sci-fi in that very perspective. If it leaves our head spinning then also encourages to scratch it. And this does not follow an ethical dilemma. It is neither a scale of what happened or the aftermath of what has happened and instead is more like why it happened.
And that’s why I am scared. That revelation haunts you. It is not actually the information revealed in the plot- well it actually is- but it shows you what it has been basing all these events on. And that measurement is jarring. For it does not, it never did follow a character but an idea. And when an idea is kept above the humans either coming up with it or passing on, then the world grows scary.
Things get out of control and your fighting back reflection gets cornered into a survival instinct. Where if everything goes according to your plan, you live, not succeed but are just able to breathe. Remember, Weine doesn’t let you breathe. For an entire hour, this idea, the myth consumes you destructively. The Cabinet Of Dr. Caligari is surprisingly visually aesthetic. Maybe, it is the version I saw, but the way the night and the sun is colored it honors the concept it has to breathe fear in, in each and every character along with you, the audience.