The Golem (1920)

 Paul Wegener & Carl Boese's "The Golem"

In this German Expressionist work, writer/director Paul Wegener brings to life "The Golem," the clay figure from Jewish folklore. Wegener came to the idea to create this film when he learned about the legend in Prague while filming his 1913 film, "The Studen Price on Prague." He created a film in 1915 about the Golem creature, however he was vastly underwhelmed with the film, due to the compromises he had to make during production. When he re-did his film in 1920, it was hugely successful (unlike his previous). According to Mia Spiro, who wrote "Containing the Monster: The Golem in Expressionist Film and Theatre," the film "sold out the Berlin Premiere at UFA-Palast am Zoo on October 29, 1920, and played to full theaters for two months straight." It released in the United States to packed houses, playing at New York City's Criterion Theater for 16 consecutive weeks. 

The film tells the story about the persecution of Jews in 16th century Prague. One day, a rabbi decides to build a clay figure and use his access to magic to bring the clay creature to life, so that it may protect the Jewish community. It comes to life and saves the Emperor and his people from a collapsing building. In turn, the Emperor pardons the Jews. Afterwards, the Golem turns on its creator and sets fire to the rabbi's home. The fire begins to spread, forcing the rabbi to cast a spell that will release the Golem. 

Famed film critic Leonard Maltin cites "The Golem" as a forerunner to the 1931 film "Frankenstein," believing that the latter draws visual inspiration from the former. After all, "The Golem" proved to be a landmark horror film about the dangers of creating life, and the unwarranted consequences of scientific advancement. However, in this film, the 'scientific' elements are instead 'mystical' elements. But, during the 1920s, many scientific advancements were being made in the realms of the human body. Many believed that tampering with the physical makeup of the human body and its connective consiousness could result in dangerous side effects. Perhaps Paul Wegener used the film to criticize the Jewish community, rather than erect a legend from their history for the purpose of connectivity. After all, once the Nazis came into power in Germany, Wegener joined propoganda productions. It is the intuition of this viewer that "The Golem" is a critique of the Jewish community's propensity for scientific and intellectual advancement. Through this lense, the film could be viewed as a anti-Semetic propoganda film. However, this angle is not varyingly supported by the film historian community, as many believe the film to be a playful rendering of a well-known Jewish story.