<Tr> <Td> "</Td> <Td> The acting style is as emotionally over-the - top as the narrative and visual style of The Cabinet of Dr. Caligari . The behavior of the characters represents the actors' emotional responses to the expressionistic environment and the situations in which they find themselves . Staging and movement of the actors respond to the hysteria of Caligari's machinations and to the fun - house labyrinth that appears to be the reflection of a crazy mirror, not an orderly village . </Td> <Td>" </Td> </Tr> <P> Shooting for The Cabinet of Dr. Caligari began at the end of December 1919 and concluded at the end of January 1920 . It was shot entirely in a studio without any exterior shots, which was unusual for films of the time, but dictated by the decision to give the film an Expressionist visual style . The extent to which Mayer and Janowitz participated during filming is disputed: Janowitz claims the duo repeatedly refused to allow any script changes during production, and Pommer claimed Mayer was on the set for every day of filming . But Hermann Warm claimed they were never present for any of the shooting or involved in any discussions during production . </P> <P> Caligari was filmed in the Lixie - Atelier film studio (formerly owned by Continental - Kunstfilm) at 9 Franz Joseph - Strasse (now Max Liebermannstraße), Weißensee, a north - eastern suburb of Berlin . Decla had been making films at the Lixie studio since October 1919, having previously released three titles, Die Pest in Florenz (1919) and the two parts of Fritz Lang's The Spiders (Die Spinnen). The relatively small size of the studio (built some five years earlier in 1914) meant most of the sets used in the film do not exceed six meters in width and depth . Certain elements from the original script had to be cut from the film due to the limited space, including a procession of gypsies, a handcart pushed by Dr. Caligari, Jane's carriage, and a chase scene involving horse - cabs . Likewise, the script called for a fairground scene with roundabouts, barrel organs, sideshow barkers, performers and menageries, none of which could be achieved in the restrictive space . Instead, the scenes use a painting of the Holstenwall town as a background; throngs of people walk around two spinning merry - go - round props, which creates the impression of a carnival . The script also made references to modern elements like telephones, telegrams and electric light, but they were eliminated during the filming, leaving the final film's setting with no indication of a specific time period . </P> <P> Several scenes from the script were cut during filming, most of which were brief time lapses or transitioning scenes, or title screens deemed unnecessary . One of the more substantial scenes to be cut involved the ghost of Alan at a cemetery . The scene with the town clerk berating Dr. Caligari deviated notably from the original script, which simply called for the clerk to be "impatient". He is far more abusive in the scene as it was filmed, and is perched atop an exaggeratedly high bench that towers over Dr. Caligari . Another deviation from the script comes when Dr. Caligari first awakens Cesare, one of the most famous moments in the film . The script called for Cesare to gasp and struggle for air, then shake violently and collapse in Dr. Caligari's arms . As it was filmed, there is no such physical struggling, and instead the camera zooms in on Cesare's face as he gradually opens his eyes . The original title cards for Caligari featured stylized, misshapen lettering with excessive underlinings, exclamation points and occasionally archaic spellings . The bizarre style, which matches that of the film as a whole, mimics the lettering of Expressionistic posters at the time . The original title cards were tinted in green, steely - blue and brown . Many modern prints of the film do not preserve the original lettering . </P>

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