THE GOLEM
Germany, 1920, 85 minutes, Black and white.
Paul Wegener, Albert Steinruck, Lyda Salmonova, Ernst Deutsch, Hanns Sturm.
Directed by Paul Wegener and Carl Boese.
The Golem is one of the classics of the post-World War One German cinema - with its emphasis on horror, after The Cabinet of Dr. Caligari and before Nosferatu. The directors Paul Wegener (who appears as the Golem) and Henry Galeen had made the film in 1914. Their classic presentation is the 1920 version, photographed by Karl Freund (who was to move to Hollywood and photograph and direct several horror films).
The story is a mediaeval legend with Jewish background. A statue is brought to life at a special time of the stars and with the pronunciation of the magic word. The Golem is to protect the Jews - but if it is used for purposes beyond this it wreaks vengeance and goes berserk. The film presents in a number of tableaux this basic plot. The set design and costumes are much more lavish and better designed than those of the expressionist Caligari. There are also some excellent effects with decor and costumes, even with techniques of fixed camera. The film is a variation on the zombie and living dead theme and is an interesting example of German horror. It seems to anticipate, as did many of the German films of the time, the Nazi horror that was about to emerge from Germany. There was a French remake by Julien Duvivier in 1936.
1. The impact of the film? As silent film? From German cinema after World War One? The importance of cinematic techniques: fixed camera, editing, titles? Acting styles? Themes?
2. The quality of the black and white photography, the editing? The imagination and variety of the sets? Special techniques e.g. the summoning up of the spirit Astaroth and his giving the magic word?
3. The background of mediaeval chronicles? The Jewish focus? The pro-Jewish legend? The possibilities for anti-Semitic use? The presentation of this theme in 1920 - and the implications of the '20s and '30s for the Jews?
4. The focus on the rabbi. his being a religious leader, focus on astrology? The situation and the need for defence of the Jews? His plans for making the Golem? His constructing the statue? The incantation - and the eerie face of Astaroth and his giving the word? The Golem coming alive, being tested, exercising its power, the need for secrecy - for the assistant?
5. The parallels with other horror stories e.g. the zombies, the living dead, the Frankenstein monster? The creature as the living dead? Physical appearance. a giant - for good or evil? No moral standards? At the whim of the master? Violence? Servant? The rabbi losing control and the Golem on the rampage? The Golem's manner of walking. defending the Jews, the presence in the Emperor's Court, going berserk, the fires and destruction? The sequence with the children - playing and the irony of the child destroying the Golem by taking the star? The place of The Golem among the classic horror monsters of the cinema?
6. The background of the Christians, the Emperor's decree - and the sumptuous court sequence - with Emperor, courtiers,, decor and tapestries? The anti-Semitic tone of the decree? The Emperor depending on the rabbi for his horoscope? The presence of the Golem? His relenting?
7. Florian as courtier and his exaggerated acting style for courtly manners? The delivering of the decree? The infatuation with Miriam? Their scenes together? The Jewish and Christian romance? The destruction of Florian by the Golem?
8. The rabbis and their leadership, control, use of magic? The assistant? The domestic sequences for the rabbi, especially with Miriam? His exercising the Golem's power at court? In the marketplace doing the work of servant (and the domestic light touch of these sequences)? The Golem out of control, destruction,, the panic of the people? The irony of the children stopping the Golem's power?
9. Atmosphere of horror, suspense? Reality and unreality? A film establishing further conventions for later use? Its classic status?
