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A relic certainly, but a fascinating one, Der Golem is perhaps the screen's first great monster movie. Though it was actually the third time director-star Paul Wegener had played the eponymous creation, the earlier efforts (sadly lost) were rough drafts for this elaborate dramatisation of the Jewish legend. When the Emperor decrees that the Jews of mediaeval Prague should be evicted from the ghetto, a mystical rabbi creates a clay giant and summons the demon Astaroth who breathes out in smoky letters the magic word that will animate the golem. Intended as a protector and avenger, the golem is twisted by the machinations of a lovelorn assistant and, like many a monster to come, runs riot, terrorising guilty and innocent alike until a little girl innocently ends his rampage. Wegener's golem is an impressively solid figure, the Frankenstein monster with a slightly comical girly clay-wig. The wonderfully grotesque Prague sets and the alchemical atmosphere remain potent.
On the DVD: Der Golem on disc has an imaginative menu involving the rabbi opening a book of spells that leads to alternate versions of the film with German or English inter-titles. The print is cobbled from several sources and tinted to the original specifications, with an especially impressive crimson glow as the ghetto burns. The extras are an audio essay, illustrated with clips, on Der Golem and German Expressionist cinema in general, plus a gallery of stills and other illustrations. --Kim Newman
Special Features
4:3 Full Frame
Region 2
Dolby Digital 2.0
Audio Essay By Film Historian R Dixon Smith
Photo Gallery
Scene Selections
English\German
Region 2
Dolby Digital 2.0
Audio Essay By Film Historian R Dixon Smith
Photo Gallery
Scene Selections
English\German
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7 of 8 people found the following review helpful
Format:DVD
The giant frame of Paul Wegener as the Golem is one of the best known characters from the silent era, and one of the first icons of horror. Der Golem is actually the third film to feature the character, the first being The Golem (1915), and the second The Golem And The Dancing Girl (1917), which is a short comedy with Wegener donning the costume to frighten a girl he is in love with. Tragically, those two films are now considered lost, and only fragments equalling about 14 minutes of the first film remain. This film is actually a prequel, and it's full title is Der Golem: Wie Er In Die Welt Kam (How He Came Into The World), but is now commonly know as simply Der Golem.
The Jews of medieval Prague face persecution from the townsfolk. Terrified of their doomed fate, Rabbi Loew (Albert Steinruck) uses his skills in black magic to create The Golem, a mythical figure from Jewish folklore. He is made entirely from clay, and has an amulet in his chest that gives him power, and when removed turns him back into lifeless clay. He is initially used as a servant, and then to terrify the townsfolk who are threatening them. The Golem eventually gets tired of being used as a tool of fear and begins to turn on his creator, and starts to lay waste to the Ghetto.
Like the majority of films made in Weimar Germany, the film has an expressionist tone, with lavish, artistic sets that dominate the frame. Similar in feel to the great Das Cabinet Des Dr. Caligari, it is however more subtle in its artistic flair, and lacks Caligari's rickety (although wonderful in its own way) sets. It is also quite terrifying in its realisation of a segregation that would occur in the country only a decade later, although it does portray the Jews as vengeful and as studying the dark arts.
The Golem itself is a great movie monster. Tragic in the same way as Frankenstein's monster, he is brought into the world without having asked to be, and is expected to carry out terrible acts against his will. Paul Wagener portrays him with all silent intensity and uncontrollable rage, with his towering frame sending his enemies running for the hills. He also impressively co-wrote and co-directed the film. This is an enjoyable film that breezes by in its rather slight running time, and can be forgiven for some over-acting and the occasional tedious scene. It also has some interesting social comments, and is a frightening prelude to one of the most horrific periods in Europe's history.
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The Jews of medieval Prague face persecution from the townsfolk. Terrified of their doomed fate, Rabbi Loew (Albert Steinruck) uses his skills in black magic to create The Golem, a mythical figure from Jewish folklore. He is made entirely from clay, and has an amulet in his chest that gives him power, and when removed turns him back into lifeless clay. He is initially used as a servant, and then to terrify the townsfolk who are threatening them. The Golem eventually gets tired of being used as a tool of fear and begins to turn on his creator, and starts to lay waste to the Ghetto.
Like the majority of films made in Weimar Germany, the film has an expressionist tone, with lavish, artistic sets that dominate the frame. Similar in feel to the great Das Cabinet Des Dr. Caligari, it is however more subtle in its artistic flair, and lacks Caligari's rickety (although wonderful in its own way) sets. It is also quite terrifying in its realisation of a segregation that would occur in the country only a decade later, although it does portray the Jews as vengeful and as studying the dark arts.
The Golem itself is a great movie monster. Tragic in the same way as Frankenstein's monster, he is brought into the world without having asked to be, and is expected to carry out terrible acts against his will. Paul Wagener portrays him with all silent intensity and uncontrollable rage, with his towering frame sending his enemies running for the hills. He also impressively co-wrote and co-directed the film. This is an enjoyable film that breezes by in its rather slight running time, and can be forgiven for some over-acting and the occasional tedious scene. It also has some interesting social comments, and is a frightening prelude to one of the most horrific periods in Europe's history.
[]
1 of 1 people found the following review helpful
Format:DVD|Amazon Verified Purchase
Having recently visited Prague, and become more aware of the Golem legend, I was intrigued enough to want to learn more. This silent film from the writer, director, actor Paul Wegener supplied that extra knowledge. It is atmospheric and intriguing, an excellent example of early German cinema. The story flows well with only a minimum of intertitles. Whilst it strays from the original legend, it is fascinating to see connections to the Frankenstein story of Mary Shelley. The tinting of various scenes, such as the crimson during the burning of the ghetto, is subdued, but effective.
All told a welcome addition to any collection of early German or Horror films.
The extras whilst not being excessive, are a welcome addition.
All told a welcome addition to any collection of early German or Horror films.
The extras whilst not being excessive, are a welcome addition.
26 of 33 people found the following review helpful
Format:DVD
The Golem may be less familiar than those other Expressionist classics,Nosferatu and The Cabinet of Dr Caligari, but the scale and imaginationevident in the film more than compensate. The impressive sets and make-upas well as the unusually effective acting bring to life this eerilyprophetic tale of oppressed Jews in 16th Century Europe. A rabbiinterprets signs from the stars which warn of a pogrom in the ghetto. Using ancient Jewish powers, he animates a man of clay to protect theJews, only to find that he cannot remain in control over his creation.
Though the film stands well enough on its own, it is also fascinating froma historical perspective. Made in 1920, it pre-dates the worst of theHolocaust by under twenty years, and by referring to the historicalreality of the pogroms reinforces the fact that the ethnic exterminationof the 20th Century is, depressingly, unusual only in scale. However, theDVD extras concentrate on The Golem's place in German Expressionism. Inan interesting though rather short documentary, the main themes andimagery of Expressionism are linked to German literature. The Golem'sdesign is shown to be at least partly the inspiration for James Whales'version of Frankenstein. I would add that certain classic Gothic/horrormyths are established in the film, such as the need to use certain ancientwords to control the creature (similar to those memorably screwed up byAsh in Army of Darkness). For this reason The Golem is essential viewingnot only for those interested in early cinema, but for those who want tosee where modern horror began.
Though the film stands well enough on its own, it is also fascinating froma historical perspective. Made in 1920, it pre-dates the worst of theHolocaust by under twenty years, and by referring to the historicalreality of the pogroms reinforces the fact that the ethnic exterminationof the 20th Century is, depressingly, unusual only in scale. However, theDVD extras concentrate on The Golem's place in German Expressionism. Inan interesting though rather short documentary, the main themes andimagery of Expressionism are linked to German literature. The Golem'sdesign is shown to be at least partly the inspiration for James Whales'version of Frankenstein. I would add that certain classic Gothic/horrormyths are established in the film, such as the need to use certain ancientwords to control the creature (similar to those memorably screwed up byAsh in Army of Darkness). For this reason The Golem is essential viewingnot only for those interested in early cinema, but for those who want tosee where modern horror began.
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Most Recent Customer Reviews
self-enclosed world
This is a very interesting movie. The key factor is how the jewish village (some kind of subordinate territory or quasi ghetto) is presented as a self-enclosed world, only broken... Read more
Published 15 months ago by paco
A Mystical Legend Brought to Life
I have read so much on the internet that places this film in the context of Weimar Germany in the period that led up to National Socialism and the Nazi's crimes of genocide against... Read more
Published on 13 Sep 2005 by David J. Smith
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