The story is told in flashback, framed by scenes of the present. The original tale was intended as a pacifist parable (Cesare representing the sleepwalking people, and Caligari a symbol of the State, clothed in the guise of respectability, but secretly ordering others to kill for him). However, the framing sequences negated the message of the film, reportedly enraging Janowitz and Mayer, but also transforming the movie into a timeless masterpiece.

The twist ending is something modern writer/directors like M. Night Shyamalan would be proud of. I am still amazed how, on first viewing, I was drawn into the story only to have the tables completely (and wonderfully!) turned on me. Its little wonder that The Cabinet Of Dr. Caligari has been dubbed the first cult film.

The fantastic stylized sets capture the subjective perceptions of the main character by shaping the scenery from his thoughts, an important cinematic innovation. One of the most memorable aspects of this famous dcor is the number of acutely angled shapes and pointed objects sprinkled throughout; it has to be one of the most jagged set designs in film history. This characteristic subtly reminds one of the stabbings Cesare carries out at the bidding of Dr. Caligari. These sharp geometric figures also convey a pervading sense of danger and evil throughout the city which, in retrospect, can be seen as the paranoid worldview of the narrator. Cesare's carrying off of Jane over crooked buildings and their trek through a twisted forest are also memorable representations of a distorted vision of the world.

Stylistic Expressionistic touches were not restrained to the sets but extended to make-up and some of the acting, most notably Cesares; his pallid complexion and the exaggerated dark circles under his eyes set the standard look for movie zombies. Cesares slow awakening to a wide-eyed look into the camera is somewhat frightening, partly because its one of the only close-ups. His approaching of Janes house by walking jerkily and as if he is plastered to a nearby wall adds to the strange mood. Another example would be Francis waiting in the empty hall of the asylum, standing directly in the center of an alternating black and white circle to form a memorable tableau; much like an Expressionistic painting. In fact, most of the film is shot in these medium long shots which allow the surrounding dcor to be fully seen and require the viewers eye to study the entire frame. A few iris-in effects that jump to the extreme side of the frame hint that important elements reside throughout each composition. Multiple viewings undoubtedly yield a greater appreciation of all the telling mise-en-scene details that create the film's unique atmosphere.

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