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Der Golem (1920)

Der Golem (1920)
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Actor-director Paul Wegener made three films built around the mythical creature of Jewish legend: Golem was released in 1914, and a sequel of sorts, Der Golem und die Tänzerin, came out in 1917. This is the one film which has survived and is regarded among the landmarks of early German expressionism. In medieval Prague, Rabbi Loew (Albert Steinruck) observes the stars and concludes that trouble is brewing for his people. When the emperor issues a decree threatening the expulsion of Jews from the city, the rabbi, a master of magic, activates the Golem, a monstrous clay figure, to help save his congregation. The rabbi's daughter, Miriam (Lyda Salmonova, who also played this role in the 1914 film) is courted by two men, Famulus (Ernst Deutsch), the rabbi's assistant, and Knight Florian (Lathar Menthel), a messenger for the emperor. Famulus re-activates the Golem to vanquish his rival, and the monster goes berserk. Stylized sets and moody cinematography elevated Der Golem above the standard features of its time, its central figure has been the focus of a number of films produced in various countries, and the name has become a generic descriptor for any lumbering creature which can't be easily controlled. ~ Tom Wiener, Rovi

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Director(s):
Karl Boese, Paul Wegener, (more)
Format(s):
DVD
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Synopsis of Der Golem

Actor-director Paul Wegener made three films built around the mythical creature of Jewish legend: Golem was released in 1914, and a sequel of sorts, Der Golem und die Tänzerin, came out in 1917. This is the one film which has survived and is regarded among the landmarks of early German expressionism. In medieval Prague, Rabbi Loew (Albert Steinruck) observes the stars and concludes that trouble is brewing for his people. When the emperor issues a decree threatening the expulsion of Jews from the city, the rabbi, a master of magic, activates the Golem, a monstrous clay figure, to help save his congregation. The rabbi's daughter, Miriam (Lyda Salmonova, who also played this role in the 1914 film) is courted by two men, Famulus (Ernst Deutsch), the rabbi's assistant, and Knight Florian (Lathar Menthel), a messenger for the emperor. Famulus re-activates the Golem to vanquish his rival, and the monster goes berserk. Stylized sets and moody cinematography elevated Der Golem above the standard features of its time, its central figure has been the focus of a number of films produced in various countries, and the name has become a generic descriptor for any lumbering creature which can't be easily controlled. ~ Tom Wiener, Rovi

Theatrical Feature Running Time:
85 mins

Complete Cast of Der Golem


Director(s):
Paul Wegener, Karl Boese
Writer(s):
Henrik Galeen, Paul Wegener
Categories:
Horror
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    Aaron M.

    I rented this not knowing it was a silent film, but I tried to keep in mind its place in cinema history while watching it, though I have only seen a few other silent films. That said, I was impressed. The story has some interesting dynamics and themes that don't appear often in modern fiction. You can tell most of the actors were used to stage-acting, which involves exagerrated expressions (so the people in the back of the theater can get the message), but the actors playing the rabbis and golem did a good job. As for the music, it was alright, but certainly no "Fiddler on the Roof". It's interesting to think of how this movie may have had an influence on the later Frankenstein movie.

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    Richard T.

    If you're wanting to know about cinema history, The Golem is an important film to see. It's surprisingly well-made for the time. Watching this, you'll be able to see the influence that The Golem and other German Expressionist films had on Hollywood movies a few years later. Frankenstein was an obvious successor to The Golem. The film has been painstakingly restored, and the musical score is appropriate for the film. Interesting to note the kind treatment of the Jewish faith in this film compared to the propaganda hate films a few years later.

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    Shannon B.

    Somewhat prescient in its treatment of Jewish relocation and persecution, this very competent silent nevertheless hedges some of the more evocative associations of the Golem tradition. Just as "Der Golem" would later influence the 1931 James Whale "Frankenstein," this movie is itself influenced by late 19th century mad scientist novels like Mary Shelley's. The devout rabbis of the medieval stories are re-characterized as hubristic mystics who bring destruction on themselves and their people. Where the medieval golem was an agent of vengeance and protection against hostile Christian tyrants, in "Der Golem" it is primarily wielded as a threat to achieve political concord but eventually must be de-activated by a charming Christian child to prevent widespread destruction. In all, although it offers a frightening glimpse at the future of the Jewish people in Germany and fosters sympathy for the persecuted ghetto, it fails to manifest the possibilities latent in the story.

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