By Carlos Clarens
Illustrated background of Horror motion pictures
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Extra resources for An Illustrated History of the Horror Film
In Hollywood, there were some sporadic outbursts of Caligarism. One of these was Human Wreckage in 1923, which employed distorted sets to represent the world of drug addiction. And after the arrival of sound, Caligari served as the model for one of the most accomplished horror thrillers of the thirties, Murders in the Rue Morgue. In its country of origin, the evil doctor launched the vogue of the Schauerfilme, the films of fantasy and terror. No sooner was Caligari completed than Janowitz adapted Dr.
The Golem was remade as a sumptuous French production in 1936, but director Julien Duvivier set it in a later period and trick film's departed from the original concept: who it is the Rabbi's young wife discovers the long-forgotten statue in the Emperor's own and brings it back to life in time to save her husband from The Emperor and the Golem, a Czechoslovakian film of 1951 directed by Mac Fric, brought a lumpish, inhuman Golem to life for comic purposes. The perennial giant has found its way into drama and opera and, undoubtedly, we have not seen the end cellar execution.
Like tions; to all true myths, this legend Wegener, it is subject to many interpreta- seemed a poetic variation of the messianic theme, a medieval mystery play. The vampire, the vilest, most detested, and, also, most popular of the creatures of the netherworld, was practically ignored by film- makers until 1921, when Henrik Galeen adapted Bram Stoker's 1897 novel, Dracula. To evade the copyright law, Galeen changed the characters' names and moved the location from London to Bremen. The resulting film, called Nosferatu, disregards most of the vampire lore contained in the Stoker novel.