#I'd also really like to go to Prague but I don't speak a word of Czech

[anhed-nia]

BLOGTOBER 10/6/2022 - GOLEMANIA! PT 1: DER GOLEM - HOW HE CAME INTO THE WORLD

For Blogtober 10/6 and 10/7, I examined two films about Jewish mysticism, both made by non-Jews, both long unavailable (or simply not available enough), and both fine examples of the style and visual capabilities of their times.

Though THE GOLEM: HOW HE CAME INTO THE WORLD represents an important beat in the development of German expressionist cinema, and any self-respecting nerd has seen plenty of beguiling stills from it, not as many people know it well enough to discuss it on the level that NOSFERATU or THE CABINET OF DR. CALIGARI enjoy. This is surely relatable to availability issues—in fact, the film is part of a trilogy, along with 1915's THE GOLEM and the 1917's THE GOLEM AND THE DANCING GIRL (apparently a primordial example of a horror-comedy!), but these other two are lost to time. The 1920 release, which I'll call DER GOLEM for convenience's sake, is the result of director and star Paul Wegener's desire to update his first effort, which was compromised by a number of disappointing production problems. So, it seems that if we can only have one of his Golem movies, it may as well be this one.

DER GOLEM is the collaboration of writer-director Wegener, his co-writer Henrik Galeen (see also: NOSFERATU), and his co-director Carl Boese, who I assume was especially necessary as Wegener himself plays the title role. The film is adapted from a novel by Austrian author Gustav Myer, which is further based on a Jewish folk tale, and it is interesting to see how this Germanic creative team express their impressions of the history of Jewish persecution. Some critics have found antisemitic underpinnings in the film, largely due to the (delightfully) frightening depiction of the esoteric practice that activates the Golem (which may have a deeper meaning than is immediately apparent), but that would be throwing the baby out with the bathwater. Despite the film being rather brief and broad, it is full of complex, sympathetic characters who transform significantly as the narrative unspools.

The story takes place in the Jewish ghetto of medieval Prague, where the venerable Rabbi Loew (Albert Steinrück) reads a warning in the stars predicting an imminent danger to his people. Sure enough, an edict comes down from the Holy Roman Emperor (Otto Gebühr) condemning the Jews for their evil character, and ordering their expulsion from the region. Loew creates a hulking clay protector who is brought to life by a sacred word hidden in a star-shaped talisman lodged in his chest, and thinks to impress and entertain the Emperor with his abilities in order to ameliorate the situation. The Golem makes a big splash in the Emperor's court, but the Rabbi's other demonstration doesn't go so well; he implores his audience not to laugh or speak during a magical cinematic projection of the history of the Jewish people, but they can't contain themselves, and the palace begins to crumble. When they are saved by the Golem, the Emperor gratefully rescinds his edict.

Now, this may be enormously crass of me, but I really, deeply think it would be incredibly great if Alamo Drafthouse made one of their pre-show warnings out of this scene. DON'T TALK. DON'T TEXT. OR THE GOLEM WON'T SAVE YOU FROM THE SUPERNATURAL DESTRUCTION OF YOUR EMPIRE.

The other thing I'd like to casually note about this first section, just because it's something I happen to know a little bit about, is that Rabbi Loew's invocation of the goetic demon Astaroth is not really equatable with the idea of devil worship that some viewers have extracted from this—which is fair, because this isn't easy to understand, nor is it readily accessible information. But (and I'm speaking very colloquially here) Astaroth is said to have mastery over esoteric knowledge, and one would work with him in order to gain more occult (for lack of a better word) enlightenment; so, it makes sense that he gives Rabbi Loew the sacred animating word. The other thing about working with demons is that they represent some set of what are usually considered to be negative characteristics: say, slander, wrath, vengeance, etc. So you might work with one of them to deflect these archetypal energies if they are directed at you by someone else. But, you'll also want to be prepared to address these elements in a mature and intelligent way, lest you be overtaken by them yourself. The final effect would be that you've learned an important lesson, and can't be harmed or dominated by whatever malefic characteristic you're dealing with.

Once the Golem has served its purpose in averting the persecution of the Jews, Loew receives a warning that Astaroth may take it over and use it for vengeful violence. Loew wisely deactivates the creature, but while he goes out to join in communal celebrations, his Assistant makes a big mistake. (The Assistant is played by Ernst Deutsch, a Jewish actor and athlete who I just saw a couple days ago in ISLE OF THE DEAD! I didn't make a note of his wonderful performance as the gently cynical doctor in that film, and now I'm sorry about it) He has fallen in love with the Rabbi's daughter Miriam, and is appalled when he discovers her affair with the Emperor's arrogant squire Florian (Lothar Müthel). The Assistant sets the Golem on Florian, but of course the situation spins out of control, forcing Rabbi Loew to save the community once again.

The Golem is an obvious ancestor of Frankenstein's monster, and his misadventure is startlingly similar to that of the better-known creature. Paul Wegener's expressive performance evokes the same range of anger, fear, and naive desire, and his moving interaction with an innocent child is abundantly familiar. In general, DER GOLEM is competitive with FRANKENSTEIN in its emotional complexity; even its villains are tragically human, driven at first by selfish compulsions, but faced with the consequences of their actions, they are sincerely penitent. Even the basics of antisemitism are addressed handily in the film, as the Jews' spartan existence in the ghetto, where their greatest treasures are their traditions and sense of community, flies in the face of the Emperor's accusation that they are avaricious and materialistic. (This coming down from a man bedecked in finery sitting on a gleaming throne, naturally)

The principle gift of DER GOLEM is its advanced aesthetics, owing to the fine work of master cinematographer Karl Freund and architect Hans Poelzig. But the film is bigger than its contributions to film history, telling a sensitive tale that is still surprising in its depth and thoughtfulness. I was glad to see there are new blu ray releases of the film from the last few years, and I'm excited to get my hands on one.

[myslowianie]

I know it’s probably more romantic in my head than it would be in reality, but gosh I really want to spend another summer in Europe

[athenas-atlas]

Sto imparando l'Italiano.

That means I am learning Italian. I really am, and a few other languages all at the same time. I have a thing about not knowing something. I don't like going to countries and not understanding the basics. When I do go and don't know a lot(Czech) I immerse myself. I become a local. I do what they do and eat what they eat. I look up basic phrases so I don't stick out. I learn what not to do very quick. The first time I had culture shock was when I came back to Canada after my tour of South Africa. We went to Toronto for 2 days upon coming back, drove to New York city where I continued to walk in the streets weaving between cars like we had done in Cape Town. It actually took a few days to readjust to our street laws. My only dangerous experience was in that same New York visit. Stopped at a McDonalds to use the washroom in Brooklyn. A lot of them require you to make a purchase to use their services. At the entrance I was looking for the sign that said so and found it. As I was turning to my brother to say "there's the sign", about 12 dudes who were previously sitting down, all stood up at once and started walking towards us with an air of aggression. So we bolted pretty quick. Jumped in the car and actually sped off as best as we could as they flooded out to the street. No idea what would have happened but I don't think we were going to braid each others hair.

Second time I had culture shock was also coming back to Canada, from Czech Republic. I did a TEFL course there and had a little apartment. I went for a couple weeks before it started to get a feel for the place and I stayed a week after the course. Us students had the greetings drilled into us so hard that we would greet each other in Czech and carry on our conversation in English. When Facetiming with my mom, I'd drop random Czech words that we were taught in our language learning classes we used all the time. Little known fact, Prague is a big tourist area. But outside of the main square, no one really speaks English and they will refuse to serve you if you walk into their shop with English even if you switch to Czech. So we got good at the phrases we needed. We didn't live in the square. We were in some old Prague. When I got back to Edmonton, I had a girlfriend pick me up from the airport. I stayed in her guest room and she drove me home the next day. Before that though we went to the mall. It was so incredibly weird to hear English that I couldn't focus on her talking to me. I was listening to everyone's conversations because I could actually understand people. We went to a restaurant and the waitress was POLITE. She greeted us like she actually cared. I just stared at her for a moment. Grocery shopping. Oh boy. They are so aggressive as tellers. You don't do your whole two weeks of shopping in one day. They will yell and swear at you until you leave. You speed pack your groceries and then go to the table outside of the store to fix your bags. We would shop in groups so one person could help you pack and then haul your stuff away while you paid. You did not want to buy more then a few items at once or hold up the line. It took me almost a year to break my speed shopping habit. Now this all sounds insane but I legit didn't want to leave and returned a year later for a visit. Loved it. We have plans for another trip back one day.

So back to the original reason for this post. Italian Espresso Romano. Take a shot of espresso, rub the rim with lemon and put a little peel in it. You'd be surprised what citrus does to a coffee. One day I will have one in Italy. All over Italy maybe. And I will order it in well spoken Italian.

Grazie e buona giornata!