Golem, wie er in die Welt kam, Der / The Golem / The Golem: How He Came Into the World / Голем, как он пришел в мир
Режиссер: Carl Boese, Paul Wegener
Продюсер: Henrik Galeen , Gustav Meyrink (novel)
Год выпуска: 1920
Актеры: Paul Wegener (as Der Golem/The Golem), Albert Steinrьck (as Der Rabbi Lцw/Rabbi Loew), Lyda Salmonova (as Miriam, des Rabbi Tochter), Ernst Deutsch (as Der Rabbi Famulus), Hans Stьrm (as Der Rabbi Jehuda, der Дlteste der Gemeinde (as Hanns Sturm)), Max Kronert (as Der Tempeldiener/Temple Servant), Otto Gebьhr (as Der Kaiser/Emperor Luhois), Dore Paetzold (as Des Kaisers Kebse), Lothar Mьthel (as Der Junker Florian/Knight Florian), Greta Schrцder (as Ein Mдgdelein mit der Rose/Little Girl with Rose), Loni Nest (as Ein kleines Mдdchen/Little Girl)
Описание: Переложение истории, родившейся в Праге в XVI веке. Ребе Леу для защиты еврейского народа, притесняемого Рудольфом Вторым, создает Голема (ожившую глиняную куклу, выполняющую приказы создателя), однако у его помощника Фамулюса есть другие планы на него. Фамулюс заставляет Голема совершать страшные преступления. В результате творение бунтует против своего создателя и убивает его.
Рецензии: 'The Golem: How He Came Into the World' is one of the best and earliest German silent films categorized as German expressionism. Paul Wegener had made a modern version of the Jewish legend in 1915 (which is lost, although some have confused it with this 1920 film), and his 1913 version of 'The Student of Prague' is an interesting, although statically filmed, early horror fantasy, which is also based in literature and set in Prague.
The bulk of writing on the subject of Weimar cinйma has connected the films with Nazism and the rise of anti-Semitism, and many have discussed this film in that light, but that view has probably been taken far enough. 'The Golem' is set in historical, although mythologized, past anti-Semitism, with mystical, magical Jews--a much different situation than twentieth-century German anti-Semitism and Judaism in any case, lacking any clear connection to Nazism, except in reflecting the long history of anti-Semitism. 'The Golem' isn't anti-Semitic, anyhow.
In the film, Rabbi Loew reads in the stars that danger threatens his community. He subsequently gives life to the clay Golem, which is to serve him in reversing a decree that the Jews evacuate Prague. As others have mentioned, the film is precursory of the creation of the robot in 'Metropolis' (1927) (as well, both films contain a vision (moving pictures) scene projected by religious leaders) and many of the scenes in 'Frankenstein' (1931). Some have even speculated that Mary Shelley's original novel originated from the Golem stories. Moreover, the film is another in a strand of German films with fantastic and horrific themes, but rather than the more stylized nature of some of the better-known movies of the period, Wegener's films seem more engulfed in their fantasy and mythology.
'The Golem' is rather representative of its times as far as camera-work and editing, which is to say it's adequate and unremarkable. Being post-Caligari, lighting is used somewhat effectively and the sets by Hans Poelzig, Kurt Richter and Edgar G. Ulmer (who notably worked on many of Fritz Lang's films) are amazing, but unique from those in 'The Cabinet of Dr. Caligari' (1920) and other expressionistic films. There are irregular contours and things are askew in an expressionistic way. The sets also reflect the narrative. Architecture made out of clay and a Golem out of clay. Rather than coming from theatre as those in 'Caligari,' however, the sets in 'The Golem' are Gothic and exploit clay wonderfully. And, it makes for a visually splendid film.