Matrixston Wow! Such a good movie.

Wordiezett So much average

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

BA_Harrison Der Golem begins with a Jewish astrologer predicting disaster in the stars; rushing to the rabbi, he tells of their people's impending misfortune. Sure enough, the emperor of the land has decreed that the Jews must leave the city, for despising Christian ceremonies, endangering the lives of their fellow men, and practising black magic. As if to prove the emperor right, the rabbi uses dark powers to bring a clay golem to life, the creature ultimately threatening their oppressors and going on a rampage (like a Jewish Frankenstein's monster). Meanwhile, a gap toothed knight with a huge feather in his cap is seducing the rabbi's pretty daughter Miriam, which won't end well for the silly chap.Whatever you do, don't watch the version of this film with added dialogue and sound effects, rock music on the soundtrack, and colour tinted scenes: it's an abomination. Instead, head on over to YouTube and see the film as intended - black and white with an orchestral soundtrack. It's a long, drawn out movie (the version I saw was over 100 minutes), hard going at times due to its slow pace, but still a must for fans of classic horror, the impressive set design (I love the claustrophobic town and that shell-like spiral staircase), superb expressionist lighting and sheer invention making it a visual treat throughout.

tomgillespie2002 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.www.the-wrath-of-blog.blogspot.com

Cristi_Ciopron Given the enormously strong impression these silent movies are making on me, I would be tempted to conclude that the primeval form of cinema art, the silent art, was the superior one, and that what has been lost was vastly preferable to what has been gained by the sound. On the other hand, and speaking of this fantasy movie, the Golem is 'my creature theme', finding it in every way superior to 'mad scientists' creatures movies'.DER GOLEM is awesomely crafted, and Paul Wegener's performance remains a hallmark for the fantasy cinema. Exciting, wise, thrilling, what a storyline …. In the silent cinema, they had a very positive notion of beauty, of what's beautiful on screen. Karl Freund provided the sensational cinematography.Movie entirely constituted by style. Sheer virtuosity. In a sense, GOLEM is better than FAUST, than BERLING and then ARNE; and, also in an accept-ion, more stylish than USHER and NOSFERATU. Am I nearing the affirmation that GOLEM might be the best of the silent fantasy movies? Perhaps yes. (I disliked CALIGARI; but those mentioned here are beautiful beyond comparison.)How are the Jews depicted here? Well, not entirely positively; they are accused of black magic—which they actually practice. They are presented like a persecuted minority; but also like folks who indulge in black magic, who conjure demons, etc.. Not really the people of the Old Law, but of Babilonian magic.

BaronBl00d While Paul Wegener's The Golem may not rank with The Cabinet of Dr. Caligari or Nosferatu with its significance, artistic splendour, and innovative highlights, it does nonetheless serve as one of the shining spotlights of silent films and in particular "horror" silent films. Oozing German expressionistic techniques throughout, director Wegener offers us a story of a Jewish ghetto in Prague being condemned for exile by a new decree from the emperor. This comes shortly after Rabbi Loew has received from the stars a message that doom will come to his people. Loew immediately starts creating a golem - a figure of a giant man made from clay that legend says can be brought to life to protect Loew's people. The story moves from the incredibly fascinating ritual used to create and imbue the creature with life to a storyline of a Jewish girl Miriam in the temple falling in lust with Florian the emperor's messenger to the golem walking around doing everyday activities and becoming the servant of Rabbi Loew to the golem "terrorizing." The golem - Paul Wegener playing the part - is unique and imposing. Watch his eyes. They act out loads of emotions whilst the body and facial muscles barely move. The film has wonderful scenes throughout from the secret word being given to Loew to the film in film of what happened to Rabbi Loew's people and the fall of the palace to the flowery ending. The expressionistic acting is all very solid and Wegener's genius is obvious when you see what hats he wears in the film: actor and director. Camera work is done by Karl Freund who would go on to direct himself and come up with incredible innovations with camera-work. There is no doubt in my mind what role this film had in James Whale's collective conscience when he decided what his vision of Frankenstein would be. The Golem is a blueprint right down to the scene with the little girl and the flower. As to the whole Jewish question I see so many viewers engage in about whether the film is pro or con, there is no doubt the Jews are portrayed sympathetically in the film from their plight from Egypt in the memorable film in film scene to the sense of hollowness and dejection the actors give off. The German officials are portrayed as buffoons for the most part. There is also a negative result though that the black arts are connected with Jews. It is a Rabbi that is able to conjure the spirit of an ancient sorcerer. He controls an inanimate object used to destroy. These are somewhat contradictory and though I believe Wegener's efforts to be ultimately filled with good intent, I could see where a film like this could also fuel the most emboldened anti-Semites because it reinforces a terrible stereotype. I don't want to get too bogged down with the historical implications of the film as I do not know nearly enough about its impact to say anything with any real meaning with regard to that subject. What I will say is this: The Golem is one of the most influential films in the catalogue of silent films and its impact in direction and in the genre are obvious and cannot be overstated really. Every time you see a depiction of Frankenstein's Monster you see its impact.