hooptober 9 #19

loved this one. beautiful sets and the actors were great. the effects were awesome too!! the word coming out of the mouth in smoke was dope. pretty classic tale but good nonetheless.

i like how whenever someone sees the golem they make this exact face: 😨

hooptober 9 #19

loved this one. beautiful sets and the actors were great. the effects were awesome too!! the word coming out of the mouth in smoke was dope. pretty classic tale but good nonetheless.

i like how whenever someone sees the golem they make this exact face: 😨

when in berlin!

when in berlin!

While not quite to the level of extreme formal innovation of Nosferatu or Caligari, The Golem is an enthralling and inventive German Expressionist horror picture that holds up well today.  It’s made all the more significant by the fact that it’s one of the few Jewish folk horrors on film, becoming all the more prescient as antisemitism and Nazism emerged in its home country in the years since, and the film directly alerts of this--even the Expressionist Nosferatu can be read as an antisemitic text, unfortunately.  As usual for an Expressionist film, the sets and costumes are so vibrant and detailed, right from the opening silhouette of the Prague ghetto.  The Golem himself is a foundational classic movie monster, a Frankenstein-created clay man who turns from an intended protector to a terrorizer of already-persecuted Jews, and has superhuman strength akin to later Frankenstein creature depictions.  Some of the imagery, such as the summoning of the green-tinted demon, is so cool and instantly creepy, rife for a Halloween party background image.

While not quite to the level of extreme formal innovation of Nosferatu or Caligari, The Golem is an enthralling and inventive German Expressionist horror picture that holds up well today.  It’s made all the more significant by the fact that it’s one of the few Jewish folk horrors on film, becoming all the more prescient as antisemitism and Nazism emerged in its home country in the years since, and the film directly alerts of this--even the Expressionist Nosferatu can be read as an antisemitic text, unfortunately.  As usual for an Expressionist film, the sets and costumes are so vibrant and detailed, right from the opening silhouette of the Prague ghetto.  The Golem himself is a foundational classic movie monster, a Frankenstein-created clay man who turns from an intended protector to a terrorizer of already-persecuted Jews, and has superhuman strength akin to later Frankenstein creature depictions.  Some of the imagery, such as the summoning of the green-tinted demon, is so cool and instantly creepy, rife for a Halloween party background image.

Why did they give the golem that fuck ass bob?

As for the film itself, the story is pretty straightforward, a community builds a monster for protection, only to watch it slip out of their control, but the execution is where it shines. The expressionist sets are towering and surreal, and the visual effects still feel eerie and imaginative over a century later. What really struck me, though, is how the conflict resolves. You’d expect some knight with a sword to swoop in and slay the creature, but instead the ending pivots toward innocence and compassion, which gives the conclusion a surprisingly human touch amid all the stone and shadows.

HOOPTOBER XII – 3/31

Why did they give the golem that fuck ass bob?

As for the film itself, the story is pretty straightforward, a community builds a monster for protection, only to watch it slip out of their control, but the execution is where it shines. The expressionist sets are towering and surreal, and the visual effects still feel eerie and imaginative over a century later. What really struck me, though, is how the conflict resolves. You’d expect some knight with a sword to swoop in and slay the creature, but instead the ending pivots toward innocence and compassion, which gives the conclusion a surprisingly human touch amid all the stone and shadows.

HOOPTOBER XII – 3/31

Filme simplismente fantastico. Poucos quadros conseguem ser tão bonitos quanto o Rabino observando as estrelas. A representação de um conto judaico me interessou muito e devo dizer que dentro das possibilidades do contexto em que o filme foi produzido não se alcançaria algo melhor. Sobre o golem, sinto que muito da parte da atuação física viria a inspirar muito do Frankesntein da década de 1930 que se diferencia do monstro que é descrito no livro.

Filme simplismente fantastico. Poucos quadros conseguem ser tão bonitos quanto o Rabino observando as estrelas. A representação de um conto judaico me interessou muito e devo dizer que dentro das possibilidades do contexto em que o filme foi produzido não se alcançaria algo melhor. Sobre o golem, sinto que muito da parte da atuação física viria a inspirar muito do Frankesntein da década de 1930 que se diferencia do monstro que é descrito no livro.