Scott Lord Silent Film: The Golem (Paul Wegener, 1920)

Exhibitor's Herald during 1921 praised the film "The Golem" for its "ingenious handling of the masses engaged in many of the scenes, persons numbering in the thousands", claiming, "the point of direction and composition" was a "splendid piece of work". It also added, "The lighting, photography and general detail is lacking, and the characters, many of them, are over done in make-up."

Author Lotte H. Eisner, in his volume "The Haunted Screen", explains the contemporaneity of "The Golem", "Paul Wegener always denied having had the intention of making an Expressionist film with his Golem. But that has not stopped people from calling it Expressionist." Seeing the film as an import, or "art film"- an idea particularly important to Scandinavian film companies during that decade almost up to the departure of Charles Magnusson from Swedish Biograph, and therefore an idea frequent in the extratextural film discourse of film critics and reviewers- Picture Play Magazine during 1921 also compared "THe Golem" to "Doctor Caligari" and the theater of Max Reinhardt in its having translated to the screen "the immense imaginative possiblities of the futurist school of dramatic expression". That year periodical highlighted the film with a two page photo dislay, each photo taking up half a page, explaining that "sensational success is predicted" while introducing the "foeign made film", "one of the most important European productions". The photocaptions pointed out the films "curious haunting beauty." The British peridical Pictures and Picturegoer during 1923did in fact approach genre theory by combining then recent early examples of the mystery thriller, including John BArrymore in his appearance in Dr. Jeckyll and Mr. Hyde, in the article Macabre Movies, distinguishing "The Golem" as a "picturization of a mediaeval legend" but comparing its "Cubist scenery" with that of "Doctor Caligari" with its half-lit ineteriors.

Wegner had given a lecture during 1916 entitled "The Artistic Possibilities of Cinema" as a proponent of "cinematic lyricism" where lines would appear then change as moving surfaces.

Motion Picture World, rather, during 1921 chose to begin with the film's "subject matter" and its "preposteruous story". "He has grasped the most essential fact about his duties as a director- to tell a story in action and develop characters at the same time. Every foot of film advances the progress of the story. There are no cutbacks, no halts for bits of local color or parenthetical description of any of the characters. He knows the meaning of the word drama."

the oeriodical Motion Picture News during 1921 noted, "Wegner deserves double credit for he also plays the tile role and makes it an unforgettable figure."
Silent Film Silent Film Lon Chaney