6th APRIL | Cinelab – Cineporto in Lecce
The first pre-opening event will take place on Saturday 6th April at the Cinelab Giuseppe Bertolucci of the Cineporto in Lecce, with the screening of a restored version of the classic silent film The Golem – How He Came Into This World (Der Golem – Wie er in diese Welt kam) (1920, 76’) by Paul Wegener, a version by Friedrich-Wilhelm-Murnau-Stiftung and Cinémathèque Royale de Belgique (Cinematek). The Golem will be screened in a new digital copy made from the original negative, which had been believed to be lost, through a 4K restoration by Wiesbaden-based Friedrich-Wilhelm-Murnau-Stiftung and Brussels-based Cinémathèque Royale de Belgique (Cinematek). The digital restoration was done by the “L’ Immagine Ritrovata” lab in Bologna.
The screening of the film, which opened the last edition of the Venice International Film Festival, will be accompanied by the original music of composer Admir Shkurtaj, commissioned on an ad-hoc basis by the Biennale, performed live by Mesimèr Ensemble made up by:
- Hersjana Matmuja (soprano)
- Giorgio Distante (trumpet in Bb, trumpet Midi)
- Pino Basile (cupafon – a set of drums, percussion instruments and ocarina)
- Vanessa Sotgiù (synthesizer, piano)
- Iacopo Conoci (cello)
- Admir Shkurtaj (conductor, electronic music, accordion, piano)
DER GOLEM, WIE ER IN DIE WELT KAM The Golem: How He Came Into the World
Il Golem – Come venne al mondo
1920 – DCP – b/n – 76’
Direction: Paul Wegener
Screenplay: Paul Wegener
Cinematography: Karl Freund
Set design: Hans Poelzig
Costumes: Rochus Gliese
Cast: Paul Wegener, Albert Steinrück, Lyda Salmonova, Ernst Deutsch, Hans Stürm, Max Kronert, Otto Gebühr, LotharMüthel
Funded by: Die Beauftragte der Bundesregierung für Kultur und Medien, Verwertungsgesellschaft für Nutzungsrechte anFilmwerken mbh, Murnau Förderverein
16th century Prague: The emperor wants to expel the Jewish population from the city. In order to avert the impending disaster fromthe inhabitants of the Jewish ghetto, Rabbi Löw creates the fabled clay figure Golem, animating it through black magic. In a turn ofevents the Golem saves the emperor’s life, making him draw back his orders out of gratitude. Due to a concatenation of unfortunatecircumstances the Golem turns on his creator and runs amok, with only a little girl being able to stop him.
Der Golem, Wie er in Die Welt Kamwas Paul Wegener’s third cinematization of the Jewish legend. The film was one of the most successful German silent film productions, both artistically and financially, whose exceptional expressionistic pictorial design anddécor has lost nothing of its suggestive impact. The constructions conceived by Hans Poelzig were groundbreaking for cinematic setdesign. Until today the film is regarded as an inspiration and reference for the horror genre.
The 2018 digital 4K restoration was based on the A-negative, cut from the best takes and preserved in the Cinematek (Royal FilmArchive of Belgium). In 1921 the negative was heavily altered and cut for American distribution. The digitization intends to restorethe A-negative as close to the previously lost German version as possible. Missing parts were sourced from a duplicate of theAmerican distribution print from the George Eastman Museum and a copy from the Cinémathèque française made from the B-negative. Most of the original intertitles survived in the A-negative. Additional titles come from the Gosfilmofond of Russia, themain title from the Museum of Modern Art. Reference for the tinting was a historical Italian distribution copy from the Fondazione Cineteca Italiana.
The screening of the film will be accompanied by the original music of composer Admir Shkurtaj, commissioned on an ad-hoc basis by the Venice Biennale, performed live by Mesimèr Ensemble made up by: Hersjana Matmuja (soprano), Giorgio Distante (trumpetin Bb, trumpet MIDI), Pino Basile (cupafon – a set of drums, percussion instruments and ocarina), Vanessa Sotgiù (synthesizer,piano), Iacopo Conoci (cello), Admir Shkurtaj (conductor, electronic music, accordion, piano).