In this version of the golem legend, the golem, a clay statue brought to life by Rabbi Loew in 16th century Prague to save the Jews from the ongoing brutal persecution by the city's rulers,... See full summary »
Balduin, a student of Prague, leaves his roystering companions in the beer garden, when he finds he has reached the end of his resources. He is scarcely seated in a quiet corner when a ... See full summary »
A Cashier in a bank in a small German town is alerted to the power of money by the visit of a rich Italian lady. He embezzles 60, 000 Marks and leaves for the capital city, where he ... See full summary »
The disaffected wife of a failed civil servant, is thrilled to re-encounter Octavio, a former lover who is now a union activist on the run from a corrupt politician. Hoping to help him, she... See full summary »
A artist model who leads the ever hapless Arturo de Córdova away from the arms of his innocent, blue-eyed wife and down, down, down into the ecstatic depths of degradation which include a stop at seedy Panamanian nightclub.
Arturo de Córdova,
The amazing adventure of the strangest figure ever filmed- unlike any production to ever reach the screen- tremendous in its realism- awe-inspiring in its remarkable action- the wonder of the generation. Thousands of people- whole cities destroyed- action that will make you grip your seat. (Print Ad- Arizona Republican, ((Phoenix, Az)) 6 December 1921) See more »
"Aemaet", the life-giving word which Rabbi Lowe compels from the spirit Astaroth is also reflected in the bolts of lightning at the end of the creation scene. See more »
When the dancers move for the first time at the Kaisers Feast you can see briefly a Hand from behind the camera, in the left Corner, giving some sort of Signal. See more »
The National Film Museum, Inc. had Hypercube, llc, New York City, digitally restore the movie and provide English intertitles. It has a piano music score composed and performed by Douglas M. Protsik and runs 68 minutes. See more »
A fascinating tale and a complete misrepresentation of an entire religion.
"The Golem" lays the cinematic groundwork for the 1931 motion picture version of "Frankenstein" . In character design, wardrobe, and interaction with its creator and the world around it, the two monsters do resemble one another. In this case, "The Golem", is a monster created from clay and magic rather than from spare body parts and science, and the monster's creator is a Rabbi. I think I was more shocked to see a Rabbi portrayed as someone who openly dabbled in the black arts and astrology than anything else the film offered. The Rabbi is even shown conjuring up a "god" - Asteroth - and forcing him to produce the life-giving word to bring "The Golem" to life. Any casual reader of the Old Testament will see that the Jews were repeatedly warned against having anything to do with the occult - it was considered blasphemy and worthy of the death penalty under Jewish law. If this is how Germans perceived the practice of the Jewish religion in 1920, fifteen years before the Holocaust began, it might explain a great deal, but nothing about this aspect of the film is mentioned in the extra features of the Kino set in which I saw it, "German Horror Classics".
One more interesting parallel to the 1931 film "Frankenstein" is in how the Golem, originally created to protect the Jews but now on a rampage, is destroyed. It is a twist on a similar innocent act in "Frankenstein", one so horrific in its effect that the scene was exorcised from prints of Frankenstein throughout the production code era. I suggest you watch both films and see what I'm talking about.
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