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and admit him as a patient. The film then returns to the framing story as Francis concludes his tale. It is revealed that Francis is actually a patient at the same asylum, as are his listener, Jane, and Cesare. The film concludes with Francis having an outburst, the guards subduing him, and a much gentler-appearing Dr. Caligari claiming that he has finally uncovered Francis' delusion and may now cure him.

In this form, the script is a typical "it was all a dream" plot. Because of the framing devices, we discover, or are meant to believe, that the story unfolds within Francis' warped mind. This is an often imitated form, and many modern films bear resemblance to elements within "The Cabinet of Dr. Caligari".

The closest fit can be found in the 2000 film "American Psycho" in which Patrick Bateman, an 80s New York yuppie, goes on a frenzied, grotesque killing spree. As the film progresses, the scenes and Bateman become more twisted and bloody. The film concludes with Bateman confessing his sins to his lawyer, only to "discover" that it was all an inexplicable delusion.

In "Rosemary's Baby" (1968), we view a reversed situation. Rosemary is another character that seems to be falling into the depths of insanity, obsessed with the idea that she is carrying the son of Satan. Unlike "American Psycho", in which the reality of the situation is never challenged until the end, many of the scenes and situations are unreal, particularly the dream/rape scene, suggesting to us that Rosemary is delusional. In the end, it is revealed that all of her seemingly unreal suspicions are true when a Satanic cult gathers around her demonic baby's black crib.

Unlike "Rosemary's Baby" and "American Psycho", the conclusion of "The Cabinet of Dr. Caligari" is much more vague. It is possible that Francis is telling the truth, and Dr. Caligari has somehow schemed to imprison him. This whole delusional story could have been fabricated by Francis' mind to cover his guilt over murdering Alan (it is never confirmed that Cesare was his killer). It could simply be the odd product of Francis' frantic subconscious and bear no resemblance to the unknown events of Francis' past.

Almost every character and event in this movie has a metaphorical element to it, some of them applicable to the story, others to events occurring while this movie was written. Examined from within the confines of Francis' mind, Cesare can be representative of Francis' unrelenting and insatiable desire for Jane. Dr. Caligari

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