He also points out that through the acting and expressionist nature of the film, the producers were not aiming at realism. This paper will critically examine and comment on John Clarke’s analysis if The Golem.
Clarke observes that two stories are intertwined through each other around halfway through the film. While Loew is at the palace after being summoned by Luhois (the Roman Emperor), Florian (a knight) is secretly courting Miriam (Loew’s daughter) (Clarke 1974, 117). Through this observation, Clarke basically communicates suspense, creating the notion that the two events cannot end well. However, analysing the two stories critically, one realises that Clarke does not dwell on the aspect of comparison, especially between that of the Jews of Prague and Christians, which seemed to be the focus of the producers. It is also significant to note that no stereotypes were imposed on either party by the producers, who opted to concentrate on individual characters and use group characterization to highlight the film’s themes. They dress all the Jews in black, and they seem to be bending under age, portraying a religion sinking into oblivion. In contrast, the Christians, dressed in bright colours, appear new and shiny. From this perspective, Clarke can be seen to be branding the film as an anti-Semitic one. However, he can be criticised on this view because the film seems to be created on a theme of tolerance, studying the Jew-Christian relationship in Prague. Rather than being perceived as anti-Semitic, the film can be considered as an open-ended staging of the struggles between Judaism and Christianity. However, Clarke seems to be bent on the idea that the producers were attracted by Romanticism.
It may be concluded that The Golem actually dwells on realism, using comparisons to bring out the depth of two different cultures. In particular, the Star of