“Golem” early German Expressionism
“The Golem: how he came into the world” is a prequel to “The Golem” of 1915 and as the only one of the three films that has not been lost, is the best known of the series.
The 11th Odessa International Film Festival to screen “Golem” as a part of grand open-air performance at the Potemkin Stairs. The screening will celebrate the 100th anniversary of the silent film “The Golem: how he came into the world”.
Despite the completely new online format of the 11th Odessa International Film Festival, the traditional open-air performance will take place offline at the Potemkin Stairs, where the silent horror film “The Golem: how he came into the world” will be screened on 2 October 2020. This year marks the 100th anniversary of Carl Boese and Paul Wegener’s film, a leading example of early German Expressionism.
If any figure could portray the metaphoric sense of boundary breaking and
overdetermination it would be the Golem of Paul Wegener’s silent film,
“Der Golem: Wie er in die Welt kam”, and the expressionist mode of cinema.
Produced only two years after Germany’s defeat in WWI, Der Golem was the third in a series of experimental films on the Jewish myth that Paul Wegener co-wrote with Henrik Galeen (who also wrote the screenplay for “Nosferatu“, 1922) and the only print that survived after World War II. The appeal of the Golem story to a wide audience was evident from its popularity as a product of consumer culture. There are destinations which depend on center men who are for the most part founded on college and school grounds. These are crucial to assemble clients for the fake id maker https://topfakeid.com/our-fake-id-reviews/ , who clearly need to stay secret. These center men will accumulate the clients’ subtleties and give them to the ID producer.
Wegener’s film sold out the Berlin Premiere at Ufa-Palast am Zoo on October 29, 1920, and played to full theaters for two months straight before being distributed throughout Germany, and then internationally (“Of Monsters” 36). The plot is rather straightforward, typical of the middlebrow horror genre.
The screening of the film at the Potemkin Stairs will be accompanied by a chamber orchestra, which will perform the soundtrack written by Israeli composer Betty Olivero. The arrangement was created by one of the pioneers of the renaissance of silent film music Günter A. Buchwald. He is considered to be one of the most experienced practitioners, as he has accompanied many “Golem” film concerts around the world since its premiere in 1997 at the Vienna Concert Hall.
The screening is supported by the Goethe-Institut Ukraine.