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Der Golem, wie er in die Welt kam (The Golem, How He Came into the World) is a 1920 German silent horror film, co-written, co-directed, and starring Paul Wegener, about the origins of the Golem of Prague. It is one of the earliest and most influential Expressionist films and is considered a masterpiece of the German silent cinema. Wegener had produced two earlier films using the character, Der Golem (1915), a mostly lost film telling a somewhat similar story, and Der Golem und die Tšnzerin (The Golem and the Dancing Girl) (1917), in which an actor (clearly Wegener playing an Expy of himself) puts on the make-up of his monster role as a prank on a dancing-girl whom he is interested in.The film would influence later horror films profoundly, in particular James Whale's Frankenstein (1931) and Bride of Frankenstein (as, for instance, the monster's playing with an innocent little girl).This film is in the public domain. It is currently available on YouTube here.
The Golem, How He Came Into the World provides examples of:
Not that the Hebrew in the film is very accurate, but it is surprisingly loyal to the kabbalic roots of the tale. The word "Aemaet" - אמת, which is used to give the Golem life means "Truth". Once the first letter is erased, it creates a new word, "Met" - מת, which means "dead".
The word "Golem" itself means cocoon or pupa in Hebrew. In both contexts, the word represents an unknown potential of life.
Bizarrchitecture: The Ghetto is a jumbled array of artificially crooked buildings.
Love Triangle: Both Florian and the Famulus love — or at least covet — Miriam.
Mad Scientist's Beautiful Daughter: Played with. The learned Rabbi's only child, beautiful Miriam, falls promptly in a forbidden love with the Christian knight Florian. However, Florian is not exactly a hero, and the romance is cut short by Florian's death. Also, the Rabbi is neither mad nor evil, even though his creation runs out of control.
Mars Needs Women: The Golem appears momentarily enraptured by Miriam, but loses interest soon.
Mundane Utility: The Rabbi claims that the Golem's aim is to save the Jews, but the first task we see that stupendous achievement of the occult arts do is chopping wood.
And the second is going shopping.
Non-Malicious Monster: Even though the Rabbi's book purports that the Golem will inevitably turn evil, at closer watch he seems not so much evil but just misunderstood, clumsy, and unable to comprehend the world around him.
"Open!" Says Me: The Golem breaks open both the door to Miriam's room and in the end, the Ghetto gate.
The End... Or Is It?: The magical star that awakens the Golem (and, if the book text is to be believed, can be used to reanimate the dead) was last seen in the hands of a little girl, who may still have it after the end of the story.
Pivotal Wake-up: Interestingly, the Golem does this when the Famulus wakes him (minus the coffin).
Prequel: As the ending is ambiguous on whether the Golem gets destroyed or not, the movie can be seen as a prequel to Wegener's first Golem film.
Red Herring Twist: The "romance" between Knight Florian and Miriam is more or less a deliberate misdirection of the audience's expectations.
Robe and Wizard Hat: With his pointy hat and flowing robe, the Rabbi's appearance comes rather close to the textbook image of a wizard. He also has a different, even more magnificent hat specifically for summoning demons.
Unspoken Plan Guarantee: The Rabbi never explained how the Golem was supposed to save the Jews, and the Golem eventually fulfilling this task appears more like a result of random events. This leaves room for three interpretations: