Der Golem (1920)
Paul Wegener directs and stars in an enduring example of German Expressionist horror, based on an ancient Jewish myth. A mystical rabbi brings a monster to life in a bid to save Prague's Jews from the Holy Roman Empire
Long before JRR Tolkien borrowed the name for 'The Lord Of The Rings', the Golem was a well-established figure in Jewish folklore. For director Paul Wegener the story exercised a lasting appeal - this silent 1920 German Expressionist classic was his third telling of the tale. (The first was 1915's The Golem, the second 1917's curious spoof The Golem And The Dancing Girl).
Like FW Murnau's Nosferatu, Robert Wiene's The Cabinet Of Dr Caligari and Lang's Metropolis, Wegener's film is a vivid piece of darkly toned fantasy that exerted a powerful influence over both European cinema and Hollywood. James Whale's 1931 Frankenstein is only the most obvious example of Der Golem's visual and thematic legacy.
Set in 16th century Prague, the story follows mystical rabbi Löw (Steinrück) as he brings to life the clay figure of the Golem (Wegener) in order to save the city's Jewish community from banishment by Holy Roman Emperor Luhois (Gebühr). At first this strange, zombie-like figure is a benevolent presence. Then Löw's assistant Famulus (Deutsch) removes the Golem's life-giving amulet. The Golem responds by turning on his creator, burning down his house and attempting to abduct the Rabbi's daughter (Wegener's wife Salmonova).
Incorporating animation and eerie, coloured tints, Der Golem is striking to look at. Like Caligari and Metropolis, set design in the film (by Hans Poelzig) is loaded with symbolism. So, Prague's medieval streets are lined with strange, crooked, constructions with facades like screaming faces, and the gothic interiors are cast in looming, gloomy shadow. At the film's heart stands the lumbering figure of the Golem himself and Wegener's performance - built only on tiny gestures and facial expressions - is both expressive and oddly sympathetic.
Despite drawing heavily on Jewish myth during the early stages of his career Wegener would go on to become Hitler's Actor of State and made several films in support of the Nazis. Politics aside, Der Golem remains a landmark in the early history of horror, and one full of visual and dramatic flourishes.
This review originally appeared at Film4.com
Like FW Murnau's Nosferatu, Robert Wiene's The Cabinet Of Dr Caligari and Lang's Metropolis, Wegener's film is a vivid piece of darkly toned fantasy that exerted a powerful influence over both European cinema and Hollywood. James Whale's 1931 Frankenstein is only the most obvious example of Der Golem's visual and thematic legacy.
Set in 16th century Prague, the story follows mystical rabbi Löw (Steinrück) as he brings to life the clay figure of the Golem (Wegener) in order to save the city's Jewish community from banishment by Holy Roman Emperor Luhois (Gebühr). At first this strange, zombie-like figure is a benevolent presence. Then Löw's assistant Famulus (Deutsch) removes the Golem's life-giving amulet. The Golem responds by turning on his creator, burning down his house and attempting to abduct the Rabbi's daughter (Wegener's wife Salmonova).
Incorporating animation and eerie, coloured tints, Der Golem is striking to look at. Like Caligari and Metropolis, set design in the film (by Hans Poelzig) is loaded with symbolism. So, Prague's medieval streets are lined with strange, crooked, constructions with facades like screaming faces, and the gothic interiors are cast in looming, gloomy shadow. At the film's heart stands the lumbering figure of the Golem himself and Wegener's performance - built only on tiny gestures and facial expressions - is both expressive and oddly sympathetic.
Despite drawing heavily on Jewish myth during the early stages of his career Wegener would go on to become Hitler's Actor of State and made several films in support of the Nazis. Politics aside, Der Golem remains a landmark in the early history of horror, and one full of visual and dramatic flourishes.
This review originally appeared at Film4.com