The Golem: How He Came into the World (1920)

 The Golem: How He Came into the World (1920), directed by Paul Wegener and Carl Boese, is one of the seminal works of early German Expressionist cinema. This silent horror film is based on the Jewish legend of the Golem, a creature made from clay and brought to life by mystical means to protect the Jewish community. Set in 16th-century Prague, the film is a prequel to two earlier Golem films by Wegener, but this 1920 version is the best known and most influential.

The film's narrative follows Rabbi Loew (played by Albert Steinrück), who, foreseeing danger for his people, creates a Golem (played by Paul Wegener) from clay and animates it using a magical word written on a scroll and placed inside the Golem’s chest. Initially, the Golem serves as a protective force, saving the Jewish community from persecution when the Holy Roman Emperor decrees their expulsion. However, as with many stories involving creations that defy natural law, the Golem eventually becomes uncontrollable, leading to disastrous consequences for both the Jewish ghetto and its inhabitants.

What sets The Golem apart from other films of the time is its striking visual style. German Expressionism was characterized by its use of exaggerated sets, distorted perspectives, and heavy use of shadow and light to reflect inner psychological states. The film’s dark, angular architecture creates a nightmarish atmosphere, and the Golem’s hulking, rigid figure is a perfect embodiment of both the protective and destructive aspects of the legend. The oppressive, medieval setting, combined with the heavy chiaroscuro lighting, creates an eerie mood, reflecting the fear of persecution and the threat of the uncontrollable.

Paul Wegener’s performance as the Golem is both iconic and haunting. His stiff movements and imposing presence convey the creature’s otherworldly nature, while the makeup and costuming highlight his artificiality. The Golem is not merely a monster but a tragic figure, a reflection of mankind’s ambition to control forces beyond its understanding. The character’s inability to fully comprehend or control its own power makes the film as much a philosophical exploration of hubris as it is a horror tale.

Themes of oppression, identity, and creation permeate the film. The Jewish community’s struggle against the looming threat of expulsion mirrors the real-world history of Jewish persecution, while the creation of the Golem can be seen as an allegory for the dangers of attempting to harness powers beyond human comprehension. The Golem’s eventual revolt symbolizes the inherent risks in trying to control forces that should remain untamed, a theme that resonates with many other stories of man-made creatures, from Frankenstein to modern artificial intelligence narratives.

One of the most memorable aspects of the film is the Golem’s design. With his heavy, stone-like physique and expressionless face, the Golem has become a lasting image in horror and fantasy. The set design, with its twisted, exaggerated architecture, enhances the sense of dread and alienation, adding to the film’s expressionist tone. This visual style influenced later filmmakers, most notably in works such as Metropolis (1927) and the Universal monster movies of the 1930s.

The film also stands as an early example of Jewish folklore being brought to the big screen. While the Golem legend had appeared in other literary and artistic forms, this film marked one of the first major cinematic adaptations, giving audiences a glimpse into Jewish mysticism and cultural history.

In conclusion, The Golem: How He Came into the World is a landmark of early cinema that combines horror, folklore, and expressionist art into a haunting tale of creation and destruction. Its visual innovation, thematic depth, and strong performances make it one of the enduring classics of silent cinema. The film’s exploration of the dangers of unchecked power and the consequences of defying natural law remain relevant, and its influence on the horror genre can still be seen in films today.

The Student of Prague (1913)

 The Student of Prague (1913), directed by Stellan Rye and written by Hanns Heinz Ewers, is a landmark film in German cinema and an early example of the horror and fantasy genres in film. Starring Paul Wegener in a dual role, the film tells the haunting story of a young man whose desire for wealth and love leads to a Faustian bargain, setting the stage for a tragic tale of identity, obsession, and self-destruction.

The story centers on Balduin, a poor but ambitious student living in Prague. Desperate to improve his financial situation, Balduin makes a deal with a mysterious figure named Scapinelli. In exchange for a large sum of money, Scapinelli takes Balduin’s reflection from a mirror, setting off a series of events that lead Balduin to a psychological breakdown as his double, or doppelgänger, begins to ruin his life.

The film is notable for its Expressionist themes, particularly its exploration of the double, or doppelgänger, a concept that would later become a key motif in German Expressionist cinema. The portrayal of a man haunted by his own reflection and the inner torment that ensues is a powerful metaphor for identity and the dangers of unchecked ambition. This theme of the dual self, along with the consequences of moral compromise, echoes Goethe’s Faust, making the film a philosophical and psychological exploration of human nature.

Wegener’s performance as both Balduin and his evil double is masterful, capturing the internal conflict and fear that consumes his character. His portrayal of a man whose soul is literally split in two was groundbreaking for its time and set the tone for future horror films that would delve into similar psychological territory.

Technically, The Student of Prague is groundbreaking for its use of special effects to create the doppelgänger scenes. The film employs double exposure, a technique that was innovative at the time, to depict Balduin interacting with his double. This clever use of visual effects allows for the eerie, unsettling presence of the doppelgänger to be a constant reminder of Balduin’s pact and his unraveling sanity.

The film also features rich cinematography, with its moody, gothic atmosphere enhancing the dark and supernatural elements of the story. Set in Prague’s old city, the film’s use of real locations gives it an authentic yet foreboding ambiance, with narrow streets, decaying buildings, and dark interiors serving as the backdrop for Balduin’s descent into madness.

The Student of Prague is widely regarded as one of the first artistic horror films, combining literary influences with visual artistry to create a psychological drama that transcends the typical fare of early silent cinema. Its influence can be seen in later German Expressionist classics like The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), both of which also explore themes of identity, madness, and the supernatural.

With its compelling story, innovative effects, and strong performances, The Student of Prague remains a seminal work in the history of cinema, not only as an early horror film but also as a psychological study of the human condition, ambition, and the dark side of desire.