Rating: 
Summary: A prototype of silent classics!
Review: THE GOLEM is a landmark in filmmaking because it was the very first of the silents, after Edison's long-lost and sought after production of FRANKENSTEIN in 1910 to present to the cinema the art of camera movement to provide suspense and horror. A movement very popularly mesmerizing through German Expressionism. Seeing this film to mind brings comparisons to the later FRANKENSTEIN films which no doubt had a strong influence on James Whale. There were actual rumors that for Bela Lugosi's screen test for the Monster he was built heavily of clay, and had a wig very much resembling Paul Wegener's Golem.This DVD is much better than the three pack of Golem/Caligari/Nosferatu released several years ago, because like the individual DVD releases of Caligari and Nosferatu (with the curious exception of Metropolis) the film's actual tints and title cards are restored, thus viewers are able to see what they initially missed through earlier VHS releases. Paul Wegener's Golem is very much portrayed as a precursor to Karloff's Frankenstein Monster. Hulking, sympathetic, misunderstanding, easily crossed, and feared by all except children. The films imagery is remarkable with the astrological symbols and sights of the stars in the sky, making the film atmospherical and at the same time suspenseful. The scene in which Rabbi Loew (Albert Steinruck) harbors black magic by spawning a ring of fire about him whilst spelling the magic words of ASTAROTH is still spellbinding after 80 years. Legends of creatures made from clay are as old as recorded history. These were artificial men made of clay or mud, which was brought to life when the name of God is pronounced over it. Some stories say that it is then able to understand orders and is just great for doing housework. Others say that it can be used as a frightening type of bodyguard. Either way, it seemed that if you had a pet golem, there would be trouble right around the corner. On its' forehead is written the Jewish word EMETH, which means "truth". Every day the golem would become bigger and bigger, and heavier and heavier. Finally it would become a nuisance, if not a downright danger, to have it around the house. So the first letter of the word on his forehead must be rubbed out. The inscription now would read METH, which now would mean "he is dead". The golem would collapse and turn into clay once again. One story w䁡s told of a golem that grew so tall and large that its' master could not reach its forehead to rub out the magic letter. So the golem was ordered to take off its shoes. When it bent over to do this, its' master quickly erased the first letter. Unfortunately the golem turned into a huge lump of clay and fell on top of its' master, thereby crushing him to death. Rabbi Loew has a different method by simply snatching the magical symbol from the Golem's chest. For those of you who own the recent VHS releases and want to know the name of the beautiful music piece heard throughout the film, it is "Brandenburg Concerto No. 3 in G Minor" composed by Johann Sebastian Bach. Karl Freund and Edgar G. Ulmer (who later directed the 1934 classic THE BLACK CAT) give the film their usual fantastic photography to the film. Lyda Salmonova is still an eye opener as Miriam, and look fast for Greta Schroeder (who appeared later as Ellen in NOSFERATU) as a flower girl.
Rating: 
Summary: Yet another fine DVD release from Kino
Review: The Golem is a terrific film from the silent era. The story is compelling, the setting is marvellous, and the look of the film overall is perfect for a story such as this. I won't bore everyone with a summary, but merely say that this film is for anyone who likes gothic horrors/thillers and maybe has an interest in reliogious issues.
Kino's DVD is the finest version of the film yet. Not all films are given the treatment that Metropilis recently got, but the restoration done of The Golem is quite nice. I can't say I care much for the colour tinting, but that's a small quibble. The music composed for the film is appropriate, but not great. Certainly not as good as the very fine scores written by Timothy Brock for Kino's releases of Faust and The Last Laugh - I wonder what he could have done.
In any case, The Golem is worth adding to your collection if you like silent classics and supernatural thillers. I wouldn't rank it as high as Lang or Murnau's work, but it IS a terrific film.
Rating:
Summary: The Inspiration For Frankenstein.
Review: THE GOLEM is one of those movies that many people have seen stills from or have read about but up until now have not the opportunity to see it as it was intended to be seen. Copies of it have been around for years but as was often the case with silent films until recently, it was available only in poor quality prints projected at the wrong speed with inappropriate or no music background at all. This new Kino DVD remedies that situation and is likely to be the best edition we're likely to see for some time. The story concerns a Jewish ghetto in 16th century Prague which is saved by the creation of a clay man who is brought to life and becomes their protector. After his task is finished, he refuses to return to clay and runs amok until he is finally vanquished by the hands of a child. This is a remake of an earlier film which also featured writer and co-director Paul Wegener as the creature. Much of the Golem legend would be used by Mary Shelley in FRANKENSTEIN and this movie would be recycled by James Whale and Boris Karloff for the famous 1931 film. It is fascinating to watch this film today not only for its highly stylised sets and striking cinematography but also for its positive portrayal of Jewish life which was possible in 1920 Germany but not 13 years later. This is by far and away the best version of this film that I have seen. It is still a little washed out in places but the restored tinting helps to minimize that. Most of the print is sharp and clear with the stylised details quite vivid especially in the ghetto scenes. The newly composed soundtrack by Aljoscha Zimmermann incorporates Jewish melodies with folk dance material and is very effective. This is one of four new releases in Kino's German Horror Classics series that also features authorized versions of CABINET OF DR CALIGARI (a knockout), NOSFERATU, and the rarely seen WAXWORKS. They can be obtained seperately or all together in a box set. If you are one of the ever growing number of silent movie fans then this movie, indeed this set, is a must.
Rating:
Summary: The most underappreciated of the classic silent horror films
Review: This 1921 version of "The Golem" ("Der Golem, wie er in die Welt kam") is a remake of a 1915 silent film. In both the Golem is played by Paul Wegener, who also played the title character in the 1917 "The Golem and the Dancing Girl" ("Der Golem und die Tänzerin"). The Jewish legend of the goldem is set this time around in 16th century Prague, which is supposedly when Rabbi Loew (Albert Steinrück) created the giant golem from clay to defend the Jews from the persecution by the local despot. However, the rabbi's assistant, Famulus (Ernst Deutsch) takes control of the golem and sends it forth to do his nefarious bidding, which includes abducting the beautiful Miriam (Lyda Salmonova), the Rabbi's beloved daughter. However, the Golem's will can not be perverted in such a manner. Much is made of "The Golem" being one of the first monster movies, and certainly this film incorporates a lot of elements that would become basic components of a lot of classic horror films. But I think "The Golem" deserves to be considered the first superhero film. After all, the creature was not created to be a monster, but to be a heroic figure of deliverance, and I would suggest that is the more important reading of the film in the long run. None of this detracts from the point that "The Golem" is a classic silent monster movie, that deserves to be mentioned in the same breath with "Nosferatu" and "The Phantom of the Opera." I would agree that "The Golem" is a lesser example of German expressionism; certainly it is not as textbook as "The Cabinet of Dr. Caligari" or "Nosferatu." Certainly Wegner, his figure esconced in "clay," is not capable of over emoting in any way. This leads me to another coment: Granted, there are strong similarities between the Golem and Karloff's performance in "Frankenstein" and it would not be surprising if Karloff had seen this silent film. But I would like to point out that the shuffling movements of both performances are logical consequences of being either a figure made out of clay or reanimated dead body parts. Karloff was a fine enough actor to have figured this out, even without the inspiration offered by this film. Ultimately, I am more concerned over the attempts to make a political reading of the film, premised on the fact that this is a German film (read "proto-Nazi"). In terms of the film this idea is premised on the contrast between the shabby, dark-haired children of the Jewish ghetto shown throughout most of the film with the happy, blonde-haired children that surround the Golem at the end. For the latter, of course, there is a temptation to read the children as being Aryan and to comment on the irony of the impending Holocaust given such the visual oxymoron. But the simpler explanation to me is the contrast between the dark and the light as reflecting the oppressive Dionysian part of the film with its happier Apollian conclusion. Besides, I would have a hard time arguing a film where the main characters are Jewish can be rightly characterized as Anti-Semetic. The film employs stereotypes, but that was a cultural commonplace that extended beyond Jews at that time in popular culture (cf. the novels of Edgar Rice Burroughs). Certainly the Emperor Luhois (Otto Gebühr) is a stereotypical despot. There are lots of ways of reading "The Golem," so in the final analysis the important thing would be that you see it for yourself and make up your own mind on these issues. I think that however you read this film, it will end up high on your list for silent films in this genre.
Rating:
Summary: The most underappreciated of the classic silent horror films
Review: This 1921 version of "The Golem" ("Der Golem, wie er in die Welt kam") is a remake of a 1915 silent film. In both the Golem is played by Paul Wegener, who also played the title character in the 1917 "The Golem and the Dancing Girl" ("Der Golem und die Tänzerin"). The Jewish legend of the goldem is set this time around in 16th century Prague, which is supposedly when Rabbi Loew (Albert Steinrück) created the giant golem from clay to defend the Jews from the persecution by the local despot. However, the rabbi's assistant, Famulus (Ernst Deutsch) takes control of the golem and sends it forth to do his nefarious bidding, which includes abducting the beautiful Miriam (Lyda Salmonova), the Rabbi's beloved daughter. However, the Golem's will can not be perverted in such a manner. Much is made of "The Golem" being one of the first monster movies, and certainly this film incorporates a lot of elements that would become basic components of a lot of classic horror films. But I think "The Golem" deserves to be considered the first superhero film. After all, the creature was not created to be a monster, but to be a heroic figure of deliverance, and I would suggest that is the more important reading of the film in the long run. None of this detracts from the point that "The Golem" is a classic silent monster movie, that deserves to be mentioned in the same breath with "Nosferatu" and "The Phantom of the Opera." I would agree that "The Golem" is a lesser example of German expressionism; certainly it is not as textbook as "The Cabinet of Dr. Caligari" or "Nosferatu." Certainly Wegner, his figure esconced in "clay," is not capable of over emoting in any way. This leads me to another coment: Granted, there are strong similarities between the Golem and Karloff's performance in "Frankenstein" and it would not be surprising if Karloff had seen this silent film. But I would like to point out that the shuffling movements of both performances are logical consequences of being either a figure made out of clay or reanimated dead body parts. Karloff was a fine enough actor to have figured this out, even without the inspiration offered by this film. Ultimately, I am more concerned over the attempts to make a political reading of the film, premised on the fact that this is a German film (read "proto-Nazi"). In terms of the film this idea is premised on the contrast between the shabby, dark-haired children of the Jewish ghetto shown throughout most of the film with the happy, blonde-haired children that surround the Golem at the end. For the latter, of course, there is a temptation to read the children as being Aryan and to comment on the irony of the impending Holocaust given such the visual oxymoron. But the simpler explanation to me is the contrast between the dark and the light as reflecting the oppressive Dionysian part of the film with its happier Apollian conclusion. Besides, I would have a hard time arguing a film where the main characters are Jewish can be rightly characterized as Anti-Semetic. The film employs stereotypes, but that was a cultural commonplace that extended beyond Jews at that time in popular culture (cf. the novels of Edgar Rice Burroughs). Certainly the Emperor Luhois (Otto Gebühr) is a stereotypical despot. There are lots of ways of reading "The Golem," so in the final analysis the important thing would be that you see it for yourself and make up your own mind on these issues. I think that however you read this film, it will end up high on your list for silent films in this genre.
Rating:
Summary: A Marvelous Film!
Review: This is simply a marvelous film; a classic in every sense of the word! Up until now, the only version of this available on DVD was part of the 3-disc set "Early Masterworks Of The German Horror Cinema". That version was a bit disappointing for two reasons: first there was no music soundtrack, and the other was the grainy quality of the print used. The quality of this DVD is immaculate; the accompanying music score is excellent, and it's very obvious from the opening shot that this company went to great lengths (and expense) to restore this film. The only minor problem is the color tinting that was utilized to enhance each scene; in some instances, the tinting is somewhat overpowering and nearly washes out some of the scenery (especially when the red tinting is present). Otherwise, this is as pristine a print and restoration that you will ever see in any form; an excellent job all around! As many have pointed out, this film was perceived as the basis for "Frankenstein", although a silent version of Frankenstein appeared prior in 1910, and is very rare on video. Paul Wegener is outstanding as the title character Golem, and Greta Schroeder puts in a brief appearance here two years prior to her more memorable performance in the classic "Nosferatu". I highly recommend this DVD!
Rating:
Summary: A Marvelous Film!
Review: This is simply a marvelous film; a classic in every sense of the word! Up until now, the only version of this available on DVD was part of the 3-disc set "Early Masterworks Of The German Horror Cinema". That version was a bit disappointing for two reasons: first there was no music soundtrack, and the other was the grainy quality of the print used. The quality of this DVD is immaculate; the accompanying music score is excellent, and it's very obvious from the opening shot that this company went to great lengths (and expense) to restore this film. The only minor problem is the color tinting that was utilized to enhance each scene; in some instances, the tinting is somewhat overpowering and nearly washes out some of the scenery (especially when the red tinting is present). Otherwise, this is as pristine a print and restoration that you will ever see in any form; an excellent job all around! As many have pointed out, this film was perceived as the basis for "Frankenstein", although a silent version of Frankenstein appeared prior in 1910, and is very rare on video. Paul Wegener is outstanding as the title character Golem, and Greta Schroeder puts in a brief appearance here two years prior to her more memorable performance in the classic "Nosferatu". I highly recommend this DVD!
Rating:
Summary: Magical.
Review: This movie was some of the best money I've ever spent on a DVD. I love german expressionism, and if you do too, this movie will blow you away. It has a lot more variety of scenery and special effects than the more known Nosferatu and Dr. Caligari. For example, some scenes have so much contrast that only black and white are visible, a technique used in many german expressionist prints to better convey raw emotion. The way the story progresses and the editing is also strikingly modern compared to other expressionist movies. Close-ups of the Golem's face reveal that he is more than a mere monster. There is also an element of magic an fantasy, with costumes and sets that look like they came out of some distorted fairy tale. The ending also has a wonderful, highly conceptual twist that will make you want to watch it again. I'm not really sure if this movie was originally tinted like Nosferatu, Dr. C, and Waxworks, but that is the only way that this movie could be better. A must own for any fan of this art movement, and an inspiring feast for the eyes and mind.
Rating:
Summary: The Golem
Review: Wow.
Even on budget dvd (spotty print quality, meaningless background music) watching Paul Wegener's 1920 THE GOLEM is quite an experience.
It's 16th century Prague and the stars imply, and the Emperor impels, an eviction of the ghetto Jews. Their crimes - practicing the black arts, despising Holy Christian ceremonies, etc. In desperation Rabbi Loew, nominal leader of the ghetto, invokes the dread spirit Astaroth to reveal the magic word that will bring the Golem to life.
The Golem is a large clay figure in the form of a man. This faithful servant of Rabbi Loew's possesses superhuman strength and seems invulnerable - daggers bend and break rather than penetrate its skin. It accompanies Rabbi Loew to the Emperor's palace on a mission to have the edict revoked, and the Golem is instrumental in accomplishing that goal.
Of course, the movie reminds us of the dictum that should be engraved on the hearts of all mad scientists everywhere - "If you have brought the dead to life through magic, beware that life." The last third of the movie shows what happens when Man's creation stop obeying the will of their creators.
For me, the big hurdle to clear when watching silent movies is to realize they're NOT over acting. Without sound, emotions have to be expressed with some exaggeration. If you're afraid, eyes pop and mouth gapes and curled fingers cover your face. With sound that type of acting looks ridiculous. This is the second silent movie I've watched recently, and it's getting easier. The acting here is fine.
It's amazing how familiar everything looks. The sets, with walls cantered at weird angles and their organic architecture (there's a spiral stone staircase that seems to have been carved from standing rock), would fit comfortably in a Tim Burton movie. I've seen the painted starscape and arched gables in Charles Laughton's NIGHT OF THE HUNTER. The Golem busts down the ghetto gate just like King Kong, and confronts the little blonde girl in the same manner as Karloff did in THE BRIDE OF FRANKENSTEIN.
I imagine all this was a lot scarier then than it is now, but it's still well worth everyone's time. If the score and print quality had been higher, I would have given this one five stars.
Rating:
Summary: The Golem
Review: Wow.
Even on budget dvd (spotty print quality, meaningless background music) watching Paul Wegener's 1920 THE GOLEM is quite an experience.
It's 16th century Prague and the stars imply, and the Emperor impels, an eviction of the ghetto Jews. Their crimes - practicing the black arts, despising Holy Christian ceremonies, etc. In desperation Rabbi Loew, nominal leader of the ghetto, invokes the dread spirit Astaroth to reveal the magic word that will bring the Golem to life.
The Golem is a large clay figure in the form of a man. This faithful servant of Rabbi Loew's possesses superhuman strength and seems invulnerable - daggers bend and break rather than penetrate its skin. It accompanies Rabbi Loew to the Emperor's palace on a mission to have the edict revoked, and the Golem is instrumental in accomplishing that goal.
Of course, the movie reminds us of the dictum that should be engraved on the hearts of all mad scientists everywhere - "If you have brought the dead to life through magic, beware that life." The last third of the movie shows what happens when Man's creation stop obeying the will of their creators.
For me, the big hurdle to clear when watching silent movies is to realize they're NOT over acting. Without sound, emotions have to be expressed with some exaggeration. If you're afraid, eyes pop and mouth gapes and curled fingers cover your face. With sound that type of acting looks ridiculous. This is the second silent movie I've watched recently, and it's getting easier. The acting here is fine.
It's amazing how familiar everything looks. The sets, with walls cantered at weird angles and their organic architecture (there's a spiral stone staircase that seems to have been carved from standing rock), would fit comfortably in a Tim Burton movie. I've seen the painted starscape and arched gables in Charles Laughton's NIGHT OF THE HUNTER. The Golem busts down the ghetto gate just like King Kong, and confronts the little blonde girl in the same manner as Karloff did in THE BRIDE OF FRANKENSTEIN.
I imagine all this was a lot scarier then than it is now, but it's still well worth everyone's time. If the score and print quality had been higher, I would have given this one five stars.
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