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Il Gabinetto Del Dottor Caligari
Formato | Schermo panoramico, PAL |
Collaboratore | Johns,O'Herlihy |
Lingua | Italiano, Inglese |
Tempo di esecuzione | 1 ora e 46 minuti |
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Descrizione prodotto
Dopo un incidente d'auto, una signora viene ospitata nella villa del dottor Caligari e da quel momento si sente prigioniera e sequestrata. In realtà è una clinica psichiatrica dove la signora viene curata.La protagonista tra transfert, complessi di colpa e voyerismo vive un'esperienza masochista che si proietta in una catena di incubi.
Dettagli prodotto
- Aspect Ratio : 2.35:1
- Età consigliata : Film per tutti
- Lingua : Italiano, Inglese
- Dimensioni del collo : 18,03 x 13,76 x 1,48 cm; 83,16 grammi
- Formato supporto : Schermo panoramico, PAL
- Tempo di esecuzione : 1 ora e 46 minuti
- Data d'uscita : 22 settembre 2010
- Attori : Johns,O'Herlihy
- Sottotitoli: : Italiano
- Lingua : Italiano (Dolby Digital 2.0), Inglese (Dolby Digital 2.0)
- Studio : CG ENTERTAINMENT SRL
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- ASIN : B0041KXDOK
- Numero di dischi : 1
- Posizione nella classifica Bestseller di Amazon: n. 28,541 in Film e TV (Visualizza i Top 100 nella categoria Film e TV)
- n. 2,453 in Horror (Film e TV)
- n. 6,908 in Drammatici
- Recensioni dei clienti:
Recensioni clienti
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Migliori recensioni
Recensioni migliori da Italia
Al momento, si è verificato un problema durante il filtraggio delle recensioni. Riprova più tardi.
Un po' verboso e a tratti anche prolisso, il film non manca tuttavia di una qualche originalità. L'interprete principale, Glynis Johns, fa del suo meglio per esprimere l'angoscia di una signora prigioniera di una strana dimora che si rivelerà alla fine essere una casa di cura.
Guardabile, non indispensabile.
Le recensioni migliori da altri paesi

Remembered seeing it at the cinema a long time ago and it made a lasting impression.
Well acted and very atmospheric. Is a favourite of mine and it's going in the collection.


Johns , has her car break down. She seeks help , where they are most cooperative. She must stay the night. Her
fellow guests seem most polite and interested , but ignore her when she says she must get out. Turns out the gate
to the grounds is locked , with a formidable fence. Things get weirder and weirder . I absolutely had no inkling of
the climax , and even while it was being revealed I was looking for another twist. Comes complete with two
theoretical nude scenes . One , Glynis Johns is in a bath , you see from the neck up only , and she sees a distorted
face in the skylight . In number two she is trying to seduce the seeming king of the establishment to get some
handle on him , but again only showing neck up. Really quaint , but pretty racey for back in the day.
The mind games go on and on , the other residents are bizarre , yet the only source of comfort and contact
that she has. If you like the series The Prisoner , this up that alley , and worth a look. Should be a cult film .
Highly recommended as psycho film noir.

IN ADDITION TO MY ABOVE COMMENTS: I know why they call this The Cabinet of Caligari. There is a direct connection between this film and the 1919 Silent Film! Do you know what it is? I do-
**SPOILER** DO NOT READ IF YOU HAVE NOT SEEN THIS FILM. WILL RUIN THE FILM FOR YOU!
Ok, if you have seen the film, you realize the film is basically a dream. A dream of an unstable woman...or some claim Caligari himself. My verdict is still out on that one. But we definitely know it is the dream of someone unstable. And in an asylum. So what is the connection to the 1919 Silent Film. The original silent version has the exact same twist ending. The same underlying concept. In the original 1919 version all this weird stuff is happening you can't quite understand, and you find out at the end it is all the dream of an unstable asylum inmate. The two stories while told completely different, share the same ending and in a way the overall same concept. Both are about a crazy imagining a world in their head, and how strange a nightmare that can be. Which is again why it also in some ways reminds me of the film "IDENTITY"...another favorite of mine. But the relationship between these two films is more than a name. If if Robert Bloch hadn't intended it to be this way...in some strange way both film deal with the same ideas throughout, and share the exact same ending. In addition one of the reviews mentioned that he could not believe that the female star would want to commit suicide after being locked up for two days....what one has to remember is that this story is the produce of a disturbed mind, and has no real basis in reality. Things are happening around her, that her mind is transforming into something else. So she imagines she has been there for 2 days...but it could have been far longer. Or she could have been suicidal for many years, and being committed and locked up pushed her over the edge....in either case, to me it made perfect sense, once I understood everything was in her head. Also the relationship with her son, is a normal mother/son relationship once you realize she's crazy....in the conversations they have, he is speaking to her like a son...she is speaking to him like a love interest. Because she's crazy. And that's why in certain scenes he's so sad. He realizes from what she says she does not know he is her son. But is imagining he is something else. A hopeful lover/boyfriend? But it is interesting to re-watch the film, and see his reactions to her comments.

During the decade after the Great War, German artists were interested in the subConscious reality recently discovered by Sigmund Freud and other pioneering psychoanalysts. One of the enduring icons of this Expressionist period is the silent CABINET OF DOCTOR CALIGARI, released in 1919. It was remade in 1962, scripted by the author of PSYCHO, with Glynnis Johns as the confused protagonist and Dan O'Herlihy as the mysterious doctor.
Ms. John's financially comfortable character with no backstory is driving her Mercedes sports convertible along a deserted mountain road on an sunny, summer day until stopped by a blowout. Unprepared to change the wheel, she decides to walk to find assistance, in high heels. Nightfall finds her exhausted, in sight of an imposing mansion in the wilderness. Shades of the BATES MOTEL.
Caligari welcomes her as a guest, and promises aid. She is introduced to a half-dozen other guests as mysterious as the Doctor. After a good sleep in the well appointed guest room, the young woman finds she is a prisoner, as are the other inmates, who are not upset by restrictions. She appeals to them for help to escape, but their promise is not delivered. The climactic escape scene takes the woman through a crazy corridor in homage to the original; I think it was done better in Peter Sellers' CASINO ROYALE. The problem of the story is why they are there; it isn't a whodunnit so much as a what the hell are they doing. More than any other mystery, the experience is spoiled by knowing the outcome before seeing the film for the first time. So, don't ask and don't tell.
Without colour, the 105 minute running time comes with no extra features but a dubbed Spanish dialogue. Wide screen and full screen are provided on the double-sided disc. Director Robert Kay stretches the full capacity of wide-screen by separating two-shots to the very ends of the frame. A pace quieter than most mystery thrillers makes it easy for a student of film to analyze. Viewing leaves an aftertaste of the utter loneliness, isolation, and anomy suffered by people troubled by aberrant perceptions; the sense of isolation might evoke post-traumatic stress nightmares. The truth of the feeling makes this otherwise undistinguished opus worth a look, but do not expect a popcorn thriller.
TP