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The Golem
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Customer Reviews
Rating:  - Excellent DVD !
Excellent DVD. I remember the first time I have watched this film on TV many, many years ago. I was fascinated and now I'm so happy because I have the DVD. This ancient German film of horror with so simple artistic techniques is a masterpiece of the silent movies. The story is so clear and move audiences. Don't miss it !
Rating:  - Before Frankenstein there was The Golem!
This unusual silent film has a number of special features which make it stand out from others, particularly in historic and artistic aspects. While the Golem itself can be a little frightening at times and is reminiscent of the story of Frankenstein, its main features are actually the wonderful and fascinating sets. Well-known German cast and crew (actor/director Paul Wegener and cinematographer Karl Freund) used styles common in German silent films of the 1920s, combining Gothic-like windows and houses with an overall surrealistic feeling, not unlike those used in "The Cabinet of Caligari". Buildings look like something out of a fairytale - or a bad dream, more likely! - representing medieval Prague, where the legendary story of the Golem began. Many Golem stories circulated in central Europe over the centuries, telling the sad plight of persecuted Jews who lived in ghettos of large cities because they were not accepted by the majority Christian population. They stuck together as a community and their rabbis or leaders often practiced the Cabbala: an ancient Hebrew system of mysticism and magic. From this occult background a certain Rabbi makes a human figure out of clay, and using magic incantations given him by a spirit, gives life to the clay statue now called the Golem. First used for good purposes, namely to frighten the Jews' persecutors and protect the Jewish community, the spell runs out and threatens to turn on its maker, while at the same time the Rabbi's daughter has a forbidden love affair. All these things come together in an exciting climax with realistic action and more fascinating indoor and outdoor sets. Close attention was also given to authentic-looking costumes of the period, and the Golem itself does indeed look like he is made of clay. In line with German Expressionist cinema of the 1920s, the acting is at times exaggerated, but this seems to fit perfectly with the eccentric surroundings and even the fantastic story itself.
Although the restored version on the KINO label does proper justice to an important cultural film like "The Golem", this DVD by Alpha Video is not at all too bad for its budget price. The picture quality is reasonably good for the most part, with only some parts a little unclear or showing too much white. A nice Classical music recording has been used as the accompaniment, and for the most part it is actually quite suitable, but there are a few moments of awkward silence and moods which don't fit the scenes. These minor imperfections did not detract my attention from the fascinating story itself, and I can still recommend this Alpha Video DVD to anyone who values the artistic and historic value of "The Golem", as well as its place in the development of the horror genre.
Rating: - Poorly Paced but Visually Captivating Early Horror Film.
"The Golem: How He Came into The World" (1920) is the only extant film in Paul Wegener's Golem trilogy, which was the first horror series in cinema. "The Golem" (1915) and "The Golem and the Dancing Girl" (1917) did not survive, but that doesn't matter in viewing the third film, because "How He Came into The World" is a prequel, not a sequel. It retells the most famous Golem story, inspired by the 16th century Jewish legend of a monster made of clay and brought to life to protect the persecuted Jews of Prague. Paul Wegener wrote, co-directed, and played the Golem himself.
The mystical Rabbi Low (Albert Steinruck), spiritual leader of the Jewish community in Prague, foresees disaster for his people. A decree from the Emperor follows shortly, accusing Jews of practicing Black Magic and ordering them evacuate the Jewish quarter. Low pursues a diplomatic solution by seeking an audience with the Emperor (Otto Gebuhr), whom he has served in the past. But he also constructs a giant creature of clay, whom he brings to life through magic to be his servant and save the Jews if necessary. Meanwhile, the Emperor's envoy Knight Florian (Lothar Muthel) is charmed by Low's daughter Miriam (Lyda Salmonova).
"The Golem" waits until very late in the film to create tension. It doesn't get into full gear until the Golem becomes disobedient and Florian and Miriam's relationship heats up. There seems not to have been any attempt to pace the film, but it's only 86 minutes long. The sets are elaborate, both indoors and in the streets of the Jewish quarter. I found myself trying to make out the background detail during the Emperor's Rose Festival. Whatever is on that wall is fascinating. I was also impressed by the technical ability to project one film almost seamlessly into another during the same sequence.
Thematically, the story seems muddled. Although it is ultimately sympathetic to the Jews, who are the film's main characters, the gentiles' fear of them is, at least in part, justified. The Jews are accused of practicing black magic. And what does the Rabbi do but bring an uncontrollable menace to life through pagan magic? Of course, the story of the Golem is a cautionary tale and a reflection on the implications of hubris and violence. This film's ambitions are more circumscribed. We don't see enough of the Golem or know enough about the characters to get more sophisticated than a simple morality play and horror movie, but it's entertaining.
The DVD (Kino 2002): This is a restored print of the film, but there are some cracks and imperfections. The restoration was supervised in Italy, but most of the footage comes from a German print of the film held by MOMA. Additional footage and intertitles were taken from a copy held in Moscow, and some intertitles were taken from 1931 censor records. The color tints are based on an Italian print of the film. This is the widest variety in color tints I've seen in one film: green, purple, blue, salmon, pink, amber, and red. It's bright. Newly translated blue intertitles look nice. I assume the text we see for books & notices are also new, as they are in English and unblemished.
There are a few bonus features. "Excerpts from Julien Duvivier's 1936 film 'Le Golem'" (6 min) shows that beginning of that French film, complete with lions. "Creation: A Comparison" compares scenes of the monster's creation from Wegener's film with an excerpt from the novel by Chayim Bloch (text) and with the scene in which Faust summons Mephisto in F.W. Murnau's "Faust". There is also a Gallery of Photos and Artwork containing 16 movie stills and related illustrations.
Rating: - Expressionist classic
An excellent silent film made in Germany in 1920 and making great use of the expressionist style of filmmaking from that era. Made by the same studio that produced The Cabinet of Dr. Caligari that same year. It was one of the first "monster movies" as well. This movie was a huge influence on James Whale when he made Frankenstein in 1931. It involves a Jewish community being persecuted by Christians. The Jewish rabbi uses "black magic" to bring a clay statue to life in order to protect them from the Christian emperor. The cinematographer, Karl Freund, would go on to lens Fritz Lang's Metropolis in 1927 and Tod Browning's Dracula in 1931; and in the 50's he was the director of photography for the "I Love Lucy" show.
Rating: - Fascinating relic
I hadn't realized how much this movie set the pattern for the ones that came after. The golem's straight-legged walk and padded chest will certainly look familiar, as will some of the scenes (including the monster and child). Other parts are less familiar but even more intriguing, including the celebration of European Jewish traditions going back to the 1600s.
The cover of this DVD is garishly colorized - don't worry, the movie itself has not suffered that fate. On the other hand, it hasn't gotten the kind of restoration that has brought other old movies to new life, either. As a result, brightness varies moment to moment and the edges of the screen are generally quite murky. The instrumental sound track adds to the movie, but adds only a little. Also, the movie runs a bit past the 85 minutes quoted on the cover.
Only the image quality is a real concern, though. The movie is still legible and enjoyable, but would be easier to enjoy if the imagery could be renewed using modern techniques.
-- wiredweird
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