Golem (1980)
DVD5 | VIDEO_TS | PAL 4:3 | 01:28:58 | 4,25 Gb
Audio: Polish AC3 2.0 @ 224 Kbps | Subs: English
Genre: Sci-fi, Art-house
DVD5 | VIDEO_TS | PAL 4:3 | 01:28:58 | 4,25 Gb
Audio: Polish AC3 2.0 @ 224 Kbps | Subs: English
Genre: Sci-fi, Art-house
Director: Piotr Szulkin
Stars: Marek Walczewski, Krystyna Janda, Joanna Zólkowska
In this futuristic sci-fi film, based on the legends of the Golem, insane scientists have invented technology that give them total control over the half-human, half-android population of Earth. Trouble ensues when one of the creatures begins showing independent will. He must be destroyed lest he influence the rest. They pursue him, but somehow he continues to elude the evil doctors.
Though I can’t claim to be speaking from a point of enormous experience, it almost seems like the era of thoughtful sci-fi died with the likes of Blade Runner. Terminator 2: Judgment Day proved greatly entertaining, but its intellectual appeal was scant at best. Piotr Szulkin, Polish auteur who dabbled in documentary and short films for nearly 15 years before jumping into the realm of sci-fi features, is a director I’ve intended to explore for some years now. Due to a friend’s recent excursion into his work, I was prompted to do the same.
Golem is intellectual science fiction with the sort of grim absurdity that was so often the mark of Soviet productions. Its apocalyptic orange hue and handheld camera lends it a distinctive visual appeal that, again, rarely feels too different from the films of Poland’s distant eastern neighbor with its aged milieu and dystopian narrative.
Golem, based on the novel by Gustav Meyrink, concerns a post-nuclear attempt by doctors and scientists to regulate humanity thenceforth. Experiments are done to moderate every individual allowed to enter the world. The idea is to reinvent the image of humans; perfect them, if you will. Intercut throughout are brief interview segments between the artificial man telling his side of a story that saw him accused of murder and TV footage of two doctors speaking to a reporter about the failed project that created the former man, all while debating the merits of the experiment and the artificial man’s status as an individual.
Their arguments are laced with political subtext, feeling not unlike a debate between a simple humanist and a communist; the former argues for the artificial man to be left to his own devices if he isn’t harming anyone and the latter argues against his being allowed to function as an individual because a society can’t function if everyone is allowed to be an individual, which speaks to the collectivist leanings of the communism much of the world feared was penetrating their borders during the Cold War.
The artificial man is merely one in a line of people given the same identity but with a new start. After returning from the police station in which he’s given clothes he doesn’t recognize as his own, he encounters many people, all familiar with his previous incarnation, who comment on his decision to stop wearing glasses — something this new man doesn’t recall ever doing. Several absurd characters tug him back and forth in matters of their concern, revealing his everyman persona merely swept up in a situation he doesn’t fully understand. In self-aware fashion, the film acknowledges its media status and our protagonist is likened to sci-fi movie monsters of the past. He’s a vessel for futuristic and governmental paranoia and the blending together of fiction and reality in a world in which people are created in labs and overseen by professionals to insure that they live the proper life, and scapegoated at whim.
In the film’s most brilliant sequence, our artificial protagonist walks down a dingy street and sees his prostitute neighbor, crying and lamenting her imperfect creation, and they decide to go to the movies. On their way, they board an escalator and discuss their future plans. A radiant orange light bursts past their silhouetted bodies as they charge up the escalator to an unknown destination and encounter a concert being filmed using digitally incorporated audience members carefully selected to maximize the experience of seeing the concert on TV. His prostitute friend disappears and the man is left to question the pseudo-reality around him and return to his humdrum existence as a product of men with greater power than him.
Special Features: None
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