I'll tell you why so serious

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

A clunky actioner with a handful of cool moments.

I originally wanted to watch all the Golem films but after some research it turned out that the first two Golem movies are lost, which is a shame, I guess this is some kind of prequel to the other films, which would explain many things.The Golem (1920) makes use of its amazing sets and great special effects (for the time of course) and delivers a compelling story with its visuals. Silent films have a surreal feeling to them, most of these people are dead and the filmmaking its obviously quite different from what we see today, but they still share the same goal of telling a story. Of course many people can find silent films to be boring, but I believe that film is a visual medium and that filmmakers should show not tell.The myth of the Golem was unknown to me by the time I watched it, at least for the most part, so there's something I got out of it.I find the story to be quite interesting and of course the monster is captivating, every scene with him its just a delight to watch.This was quite an enjoyable film, I wouldn't put it above something like The Cabinet of Dr Caligari or The Phantom of the Opera, but I still think this is worth a watch.

The Golem may not be quite as well known as that other silent creature feature of its era – F.W. Murnau's extraordinary Nosferatu – but is nevertheless a fascinating work of expressionist cinema from German film-maker Paul Wegener. Based on Gustave Meyrick's 1915 novel, the film is moodily lit and pictorially powerful, providing cinema with an early example of one of its most perennially popular motifs: the 'rampaging-monster-on-the-loose'. Even a film as celebrated as King Kong owes much to Wegener's vision in terms of plot and structure. The story is set in medieval Prague. Rabbi Loew (Albert Steinrück) reads in the stars that disastrous events are on the horizon and urges his assistant Famulus (Ernest Deutsch) to gather the Jewish elders to tell them the bad news. The very next day, a decree is issued by the Holy Roman Emperor Luhois (Otto Gebühr), stating that every Jew must leave the city by the end of the month, or else face the ultimate penalty. Desperate to protect his people, Loew creates a clay giant called The Golem, and invokes the malicious spirit of Astaroth to bring the creature to life. Animated by this sorcery, the Golem (Paul Wegener) becomes Loew's hulking ally helping him to protect the Jewish community. When Emperor Luhois sees the Golem – and witnesses its incredible strength first-hand when it prevents his palace from collapsing – he decides to reverse his decree and let the Jews stay. Later, however, Loew learns that Astaroth's sinister influence still lurks within the Golem… and this proves only too true when the creature goes on a destructive rampage through the city. Wegener's film is perhaps most impressive for its visual design, with Hans Poelzig's sets evocatively replicating the Jewish ghetto of medieval Prague. The whole film is beautifully shot around these sets – the maze of alleys, crooked towers and dingy rooms create a perfect atmosphere. The Golem itself is a brilliantly designed creature with a distinctive Eskimo-like hair cut and physically imposing appearance. It may not be as iconic as Nosferatu, but the image of the creature is still one that stays with the viewer long after the film is over. Inevitably, the film's primitive technical 'look' will affect how much of an audience exists for it any more. If you have no interest in silent cinema or expressionism, there will be little to entice you to see The Golem. For true movie buffs, though, this is a real treat. There's so much here that has gone on to influence and inspire future film-making generations – watching the film, you are actually witnessing the birth of ideas and techniques that have survived and evolved over ninety two years and counting. A humbling experience indeed for any film fan.

I have watched this 2 times; I got the Eureka DVD a few months ago. I decided to reinstate my thoughts about it today, as I did know it was a pretty good movie at first viewing, but I wanted to study what made it so goodThe story is relayed in 5 chapters; all of those can consist of intermissions.The first chapter is where Rabbi Low is reading books on how to emanate the Golem; they also tried to go to the revered Rabbi so that he can represent the Jewish Community, so all ready there is a Jewish Tone to the work. He looks through books of necromancers.The Second Chapter: He tries to call it without any caveat. He does interact with it now, although foreboding in the beginning, he is subservient to his master and obeys him at every lead. Even doing errands it can be deadly.Third Chapter: They go to the emperors place, and the Golem saves him from his temple being eroded; he was there to accompany him while they stare into another place which looks like Metropolis (1927) in the scene where Maria is preaching the construction of the Babel. One of the female character also bribed the guards.Fourth Chapter: The Golem becomes deceitful and disobeying; one of the counterproductive results to happen to itFifth Chapter: Golem opens the Gate.Albeit nobody is in a foray but rest assured, trouble was already going to be imminent; he protects them temporarily and then it all breaks loose - sort of James Whale's tantamount with Karloff's Frankenstein - a lonely, innocuous creature in a bad state, and always in trouble even though he's a delicate soul."Der Golem" was directed by Paul Weigner, who also plays the Golem. It does take time for him to be active, so throughout the first 33 minutes the foreground is taken by one of the scenes with a cat on a roof and the stars which already show The Golem, but this is the construction of him it centres on.The painted backgrounds must have been laborious work and it pays off; this is not as expressionistic as "The Cabinet of Dr Caligari" but it has the paradigm of expressionism filtered through the clinical feel to the house and the painstakingly subjective feel that you have to embrace in the village of expressionism - it's small but welcoming and distorted. Ornate and exquisite; the face of the Golem is so emotive that when he smells the flower, he genuinely seems curious about it, when he picks up the little Girl, we wonder whether or not he was going to kill her or embrace her; its deliberate dithering still makes you wonder and we never get to know anywayIn the bit where he turns on his master in an unprecedented and unexpected way, the face tells us, not the words. Abaroth's book is the liveliness of Golem; the amulet powers the Golem, so it's pretty easy to dismantle him, but it's so hard to tame him. He is, by definition in horror, the indestructible and this movie gives you the sorcery element with the green tint for the house and even little niceties like red for the fire, which should represent it, but fails, and yet it still constitutes to that sense of fantastical worlds. Golem is to be kept a secret; when I seen that, I was like "No way - you can't hide that thing - it will not conform" and of course, it didn't. But the way it grinds you into believing this, always throws it in your other direction, as he veers from unsympathetic to really sympathetic.The romance element in the movie is sort of superficial but overall not bad.It's a great, great, great film and it's definitely one of the best movies ever made.

Monday January 26, 7:00pm, The Paramount, SeattleIn sixteenth century Prague, the Emperor declares that all Jews will be banished from the city. A rabbi using magical powers creates a man made of earth to protect his people and summons a demon to give the ‘Golem’ (Paul Wegener) life. When the Emperor is saved by the creature, he rescinds his edict, but the Golem is abused by the rabbi’s assistant and embarks on a rampage of terror in the ghetto.Told in the manner of a folk tale, The Golem: How He Came Into the World (1920) features an abundant use of complex lighting, dramatic composition and striking design elements with Gothic overtones. Remade from a story Wegener brought to the screen in 1914 which is now considered lost, The Golem was a recognizable influence on Hollywood, while it offered proof of his skill as a filmmaker and established Wegener’s role in the development of German Expressionism.