by eabaker » Fri Feb 01, 2013 10:45 pm
The Golem: How He Came into the World
Let's face it, when we're talking about silent expressionist German horror, there's some stiff competition to be had. For instance, if co-writer Henrik Galeen were to be remembered for just one film, it'd certainly be Nosferatu. The point being, if I'm less than glowing in my comments on this movie, you can consider it praising with faint damnation.
Obviously, with Hans Poelzig contributing to the art direction and Karl Freund one of the cinematographers, it's a visual stunner.
Paul Wegener looks great in the Golem make-up, and his facial expressions (surprisingly demonstrative for a face of clay) have tremendous impact; he is at times rather frightening. Unfortunately, the Golem is not a very rich or nuanced character, really more of a personification of a community's gestalt than an entity per se. Alas, the movie gives very little attention to the community as a whole, and so the Golem's significance is not explored to nearly its full potential.
Most of the suporting cast is fairly unremarkable, except for Ernst Deutsch's unforgettable interpretation of the rash and lustful Famulus. Deutsch's eyes were made for the silent screen.
Tokyo, a smoldering memorial to the unknown, an unknown which at this very moment still prevails and could at any time lash out with its terrible destruction anywhere else in the world.