The first Avenger… The Golem (1920), BFI with Cyrus Gabrysch

Alan Moore, perhaps the greatest comic writer since Stan Lee, once described superheroes as revenge fantasies for the impotent… among other things. Moore knows the score and has written Superman, Batman and many other mainstream men in capes. One of his major works is Miracleman – a radical reimagining of the British version of Captain Marvel (or Shazam! as he is now known) in which the powerful man without peer declares peace on a warring World which enters a “golden age”.

The quasi-religious elements in Moore’s superhero writing stems form the source, Seigel and Shuster’s Superman was the product of two Jewish emigres looking for a break and calling on their heritage in the creation of an Übermensch who was all powerful and able to right the wrongs they could see ruining the World.

The legend of The Golem goes back a long way in Jewish history: a mystically evoked super-human who is immune to the weapons of mere mortals and who will protect the weak against oppression and serve the cause of the just. Only those who play by the rules can benefit from this hulk though and the very powers which give him birth may end up being turned against his creators… That’s pretty much the plot of Batman vs Superman right there not to mention Captain America Civil War.

Destiny amongst the stars...

There’s a connection or two with The Student of Prague … Paul Wegener co-wrote with Henrik Galeen who was later to direct the 1926 version and, it was during the filming of the 1913 original that Wegener studied the legend of Rabbi Loew who was reputed to have constructed a golem to protect the Jews from oppression in sixteenth century. Leow’s body is still buried in the cemetery in which they filmed part of Student.

Wegener became so fascinated with the story that this 1920 film, full title, The Golem - How He Came to the World, was his third film on the subject after the 1915 dry-run and the 1917 comedy, The Golem and the Dancing Girl. This, surely his most fully realised effort, was directed by himself and Carl Boese, featured delicious cinematography from Karl Freund and a cast of thousands led by himself as a platform-shoed protector, worked to life from clay (just like Wonder Woman…).

The sets were designed by Hans Poelzig and were described by Wegener as "a poem of a city", sixteenth century Germany as it might have looked in a split reality with later fairy tales, lovely organics lines and not a straight line in sight: a city which has grown around its citizens as comfort and protection: the whole set reflects the feelings of those huddled behind the city walls.

"a poem of a city"

Wegener always denied any deliberate attempt to make an “expressionist” film but… The Golem certainly has many of the hallmarks in terms of this design as well as the settings and camerawork. None of the classification matters though as this is one of the best of early Weimar films and with a satisfying story arc which the “impotent” could easily relate to.

It begins with a mix of magic and magnification as Rabbi Loew (Albert Steinrück) scans the stars for portends. He’s a science-priest who mixes the arcane with astronomy to look after his people and to track their destiny. He sees catastrophe ahead and is busy making plans, moulding a golem from clay who will, with the right incantations and calls to the necessary demons, become a living super being able to defend the Jews from all threats.

He has an apprentice, the slightly fey Famulus (Ernst Deutsch) who has eyes for his daughter Miriam (Lyda Salmonova who, fact fans, was married to Mr Wegener on two separate occasions) and he might get lucky as she seems game. But events are about to take the turn Loew feared as Emperor Luhois (Otto Gebühr) issue an edict to banish the Jews (usual reasons!?) and tasks the flamboyant Knight Florian (Lothar Müthel) to deliver the message. The ultimatum is delivered to the Jewish leader, Rabbi Jehuda (Hans Stürm) who immediately confers with Loew: what can they do? Meanwhile the mischievous Miriam has caught the eye of the young Florian and he has seen her too... things are going to get breathlessly complicated with these two you can tell.

Loew asks for an audience with the Emperor and he heads off to complete his moulding of his Golem, plastering clay over an unformed face as hard as he can. Then comes the moment when he must bring his creation to life… He draws a smoking circle around himself and summons up the demon Astaroth who utters the word he must use to complete the magic by writing it on a slip of parchment and enclosing it in a star which, when attached to the Golem’s chest will animate the clay. But if removed, the life will drain away and the Golem reduced back to mere clay… every superhero needs his kryptonite.

Wegener is suitably imposing as the hunk of clay and yet there’s a child-like surprise at this new life he’s woken up to. He’s a towering but almost timid presence and when he is presented to the Emperor and his chamber all are swiftly convinced of his good nature. But things go awry as the Rabbi magically projects images of the exodus and the Wandering Jew on the walls of the throne room and when the court get the giggles the figures start to move towards them and the ceiling starts to crumble…

Loew gets Golem to hold up the roof, thereby saving the royal family and earning his people a pardon. Mission accomplished… but not quite as Florian and Miriam had used this occasion to meet in secret and the camera cuts back to what looks suspiciously like post-coital bliss in Miriam’s room… will there be a price to pay? ‘Course there will!

Florian and Miriam after, you know...

Loew has discovered that a change in the alignment of the stars will bring about an unpleasant shift in the creature’s personality and that he will start to do the bidding of the evil Astaroth. Loew just about grabs the star in time to de-activate the Golem… and, that would be that, were it not for the imperfections of the human heart as Famulus re-animates the Golem and orders him to remove Florian. All heck breaks lose.

Cyrus Gabrysch accompanied with super powered piano and ran some impressive lines as the city began to burn and the tension rose and fell. Cyrus is probably one of those who has accompanied this film more times than he can count and yet his improvisations were fresh and let the drama breath.

Wednesday night watching Weimar film… we should do this every week!

The BFI Weimar Cinema series continues through May and June, further details are on their website.

Clear-view mirror… The Student of Prague (1913)

 
“Where thou art shall I be unto the hour when I seat me on the stone of thy grave…”

This film is often described as being perhaps the first true horror feature film, or maybe that’s just the first actually scary horror feature… It stars and is co-directed by one of the most influential figures in German silent film, Paul Wegener, later a Pharaoh, a Mummy, a Sheik and a Golem... and is now a magnificent 82 minutes long.

I had previously only seen a dilapidated cheap DVD print from an hour-long multi-generational video and wondered why such a major film hadn’t been restored. Well I might be the last silent kid on the block to find out but the film has been revitalized by the Filmmuseum München using a variety of sources including prints from as far afield as Japan and the USA: and what a joy it is to behold – almost like finding a lost film.

The Filmmuseum have produced a version closer to the original length and have also included a performance of the original score by Josef Weiss which further adds to the feeling of Prague Regained. The music has been adapted for the chamber orchestra Orchester Jakobsplatz which is on a mission to revive the musical heritage of Jewish composers.

Even through the grey haze of the truncated version this is a rewarding film to watch and you can only imagine the impact it would have had on contemporary audiences. But with the 2013 restoration now we can truly see how powerful the story is…

Wegener and Rye plan their story in Prague

The Student of Prague (Der Student von Prag) was co-directed by Stellan Rye along with Wegener, was scripted by Hanns Heinz Ewers based, in outline, on Edgar Allan Poe’s story William Wilson* with a bit of Faust thrown in for good measure…

It concerns a talented swordsman and penniless student, Balduin (Wegener) who is fed up with his lot and all but ruined, the high-life having drained his funding and his hope (bet he wasn’t on a full grant!). The film open with him morosely ignoring the revels of his fellow pupils and the charms of the dancing waitress Lyduschka (Lyda Salmonova, who has to do a lot of dancing and climbing too…).

He is approached by the mysterious Scapinelli (John Gottowt) an old man with a reputation for sorcery and other miss-deeds, who tells him that there are other paths he could follow.
The two go walking and encounter the local hunt of Graf von Schwarzenberg (Lothar Körner). The Graf’s daughter son, Komtesse Margit (Grete Berger), is engaged to be married to her cousin Baron-Waldis Schwarzenberg (Fritz Weidemann), but the two argue – she does not love him – and her horse bolts running past Balduin and into the river.

The young student doesn’t hesitate and rescues Margit from the water with some difficulty judging from Wegener’s attempts to lift Miss Berger: clearly weighed down by her voluminous and water-logged under-garments. Smitten, he returns to her house where he realises that the social gap between them is too large to ever permit a relationship… especially with her promised to the Baron.

Deflated Balduin frets alone in his apartment when suddenly Scapinelli appears and unloads a pile of coins and bank notes offering them to the young man in simple exchange for just “one thing in his rooms”. Not seeing the catch, Balduin signs on the dotted line and is shocked when Scapinelli takes his reflection from the mirror.

But Balduin cannot see the harm in losing his reflection, blinded by his new good fortune and the possibilities it brings. He works his way into the world of the wealthy and gradually gets Margit’s attention. All seems to be going well but the Baron does not take kindly to his new competitor.

Can you spot Lyduschka?

At the same time, Balduin is being stalked by Lyduschka and there is an excellent scene in which she scales the walls to spy on the lovers from the balcony with ancient Prague gloriously visible in the background. She sees Balduin’s illicit promise to Margit and finds message from him arranging a rendezvous with her… Lyduschka makes sure finds its way to the lady’s intended.

The young nobleman challenges Balduin to a duel and, even knowing the latter’s skills as a great swordsman, selects a blade as his weapon of choice. If he expects the fencing expert to use his skills to avoid serious injury his uncle tries to make certain by getting Balduin to promise to leave him unharmed.

But it is now that the full extent of Scapinelli’s evil scheme becomes apparent, as he sends Balduin’s double to fight the duel and to kill his opponent...

No spoilers: A wedge is driven between Balduin and Margit, he climbs into her room to try and explain yet his doppelganger appears out of the shadows just as she realises her love has no reflection. There can be no escape and as the confrontations escalate can Balduin kill his own shadow without destroying himself?

The two Balduins are filmed really well…the film’s tour de force of special effect with Wegener acting well against his shadow self. A double-exposure trick that’s been done a lot worse many times since but is here executed to near perfection with the spruced up images only highlighting the sublime technique on view.

Prague in the sunshine makes for an excellent backdrop adding quality depth of field to what could have been a shallow gothic melodrama. Wegener does well as the “student” (I think he was in his late thirties at the time) yet is matched by John Gottowt’s fiendish energy as Scapinelli…

The Student of Prague is still available on the abbreviated cheapo DVD but to get a clear view of the two sides of Paul Wegener wait for the Edition Filmmuseum DVD set which has been in the works for well over a year – I’ve been checking regularly but there’s no release date as yet. Don’t hesitate when it does become available!

*A version of William Wilson featured as part the 1967 horror compilation, Les Histoires Extraordinaires. Directed by Louis Malle it starred Alain Delon as the eponymous lead who becomes haunted by his own reflection. In this version of events Wilson is sadistic and his counter-part seems intent on preventing his wrong-doings. In spite of also featuring Brigitte Bardot the sequence fails to engage and is vastly overshadowed by Fellini’s Toby Dammit, the final story in the set. Featuring a magnetic Terrence Stamp, Toby Dammit is a tour de force showcasing Fellini’s still outstandingly-original cinematic vision.

There’s a nice review of that mixed bag to be found on Dusty Video Box’s site here. The Student of Prague is undoubtedly the better take on the tale in spite of the gap in technology… just goes to show that substance wins over style, sound and colour…

Old Clayface is back… The Golem: How He Came into the World (1920)

Much has been written about the impact of the Great War on European cinema in general and its impact on the “losers” in particular. With death affecting almost everyone there was an interest in the mystical as a grieving audience looked for deeper meaning yet there was also a willingness to be entertained by horror safely isolated on the screen?

As Lotte Eisner wrote in The Haunted Screen: “mysticism and magic, the dark forces to which Germans have always been more than willing to commit themselves, had flourished in the face of death on the battlefields…”

Yet, in placing Paul Wegener’s Der Golem in the context of post-war cinema it must be remembered that it was not only the co-director and writer’s third go at the subject, with the first being made in 1914, but that his interest dated back at least to his location shooting of The Student of Prague in 1913. In Prague he studied the legend of Rabbi Loew who was reputed to have constructed a golem to protect the Jews from oppression in sixteenth century. Leow’s body is still buried in the cemetery in which they filmed part of Student… still one of the most haunting pictures of the period and due a re-release from Edition FilmMuseum very soon.

Then there is the Jewish question, always a loaded one in Germany as the story itself highlights when the King of Prague issues his “Decree against the Jews”, asking for them to quit their ghetto and leave in penitence for their ongoing guilt at having killed Jesus, aggressive self-propagating financial dealings and their practice of the darker arts of necromancy.

Wegener said that Poelizig's set was "a poem of a city"

Paul Wegener wasn’t Jewish, and there’s no overt anti-Semitism in Der Golem, but the characters are certainly stereotypical and even the Ghetto shapes up in anthropomorphic imitation of the culture and attitude… Then again the members of the Emperor’s court are no less caricatures of nobility: this is a fairy tale.

Together with co-director Carl Boese, set designer Hans Poelzig and cinematographer Karl Freund, Wegener created one of the cornerstones of Weimar cinema: something on a par with Caligari which became one of the most influential horror films in history.  Wegener subsequently denied any deliberate attempt to make an “expressionist” film but… it certainly has many of the hallmarks: brilliantly designed, lit and photographed.

I’d almost written off Der Golem after having only watched murky black and white excerpts but, having now seen the re-mastered 2003 version complete with crystal clear colour tinting and cleaned up frames, you can’t fail to be impressed by the style and substance.

The world created is closer to our own reality than Caligari and yet the skylines are stretched to extremes, houses are almost grown organically around their inhabitants and the whole set reflects the feelings of those huddled behind the walls.

Are the stars out tonight?

It begins with a mix of magic and magnification as Rabbi Loew (Albert Steinrück) scans the stars for portends: he’s a science-priest who mixes the arcane with astronomy to look after his people and to influence their destiny. He sees catastrophe ahead and is busy making plans moulding a golem from clay who will, with the right incantations and calls to the necessary demons, become a living super being able to defend the Jews from all threats.

He has an apprentice, the sly Famulus (Ernst Deutsch) who has eyes for his daughter Miriam (Lyda Salmonova who, fact fans, was married to Mr Wegener on two separate occasions)… and he might get lucky as she seems game.

Poelizig's organic designs: spot the spiral staircase?

But events are about to take the turn Loew feared as Emperor Luhois (Otto Gebühr) writes his anti-semitic instructions and tasks gallant Knight Florian (Lothar Müthel) to deliver the message. We see his pride in serving his ruler as he bounces towards his horse, through splendid palace gates and to the forbidding, high-walls, of the Ghetto where, flower jauntily in mouth, he has to wait for the gatekeeper to unlock the massive wooden doors…

The ultimatum is delivered to the Jewish leader, Rabbi Jehuda (Hans Stürm) who immediately confers with Loew: what can they do?

The eyes of the beholders

Meanwhile the mischievous Miriam has caught the eye of the young Florian and he has seen her too...

Loew plays for time and asks for an audience with the Emperor… he plans to take a special guest. Off he goes to complete his molding of his Golem, plastering clay over an unformed face as hard as he can. Then comes the moment when he must bring his creation to life… He draws a smoking circle around himself and summons up the demon Astaroth who utters the word he must use to complete the magic by writing it on a slip of parchment and enclosing it in a star which, when attached to the Golem’s chest will animate the clay. But, if removed, the life will drain away and the Golem reduced back to mere clay…

Off to the city

There follows a sequence in which Golem goes shopping and helps with the daily chores. Wegener is suitably imposing as the hunk of clay and yet there’s a child-like surprise at this new life he’s woken up to. When Loew takes him to the city, you expect no danger even when the locals recoil. He is presented to the Emperor and his chamber and once the commotion dies down and all are convinced of his good nature the Rabbi is encouraged to show more of his magic. He projects images of the exodus and the Wandering Jew on the walls of the throne room but when the court get the giggles and even the emperor starts laughing the figures start to move towards them and the ceiling starts to crumble…

Golem saves the court

Loew manages to switch of his projection and gets Golem to hold up the roof, thereby saving the royal family and earning his people a pardon. Mission accomplished…or is it?

Meanwhile… Florian and Miriam had used this occasion to meet in secret and the camera cuts back to their post-coital bliss in Miriam’s room… will there be a price to pay?

Florian and Miriam

Back in his workshop Loew discovers a darker side to Golem as he discovers that a change in the alignment of the stars will bring about an unpleasant shift in the creature’s personality: he will start to do the bidding of the evil Astaroth. Loew just about grabs the star in time to de-activate the Golem…

And, that would be that were it not for the imperfections of the human heart as Famulus re-animates the Golem and orders him to remove Florian. All hell breaks lose…

No spoilers… Der Golem has a more detailed and inherently logical dramatic arc than Caligari without the latter’s raw impact. It’s less overtly experimental but the overall look and feel is as expressionist – just on a bigger budget allowing for the construction of wonderfully lob-sided walls, roads and rooftops. Wegener succeeds in creating an holistic logic in this alternative Prague and one that resonates clearly with everyday passions.

Albert Steinrück

Albert Steinrück is the moral foundation as the well intentioned Rabbi whilst the love triangle is well performed by all three corners. But it is Paul Wegener who gives the film true heart as the monster who begins to develop thoughts and morality even in spite of the influences of evil. The scene when he meets the children playing outside the ghetto is especially well-handled and I’m sure James Whale was watching…

The Kino DVD seems to be the best quality version and comes complete with those wonderful tints and a super score from the late Aljoscha Zimmermann which moves along with the action with impact and grace. The Eureka DVD appears to be from the same source and is also worth checking out - it's available from MovieMail.

Wegener’s first Golem is still extant and there are excerpts available on YouTube… der Golem looks very much the same as five years later.