HOW TO PROMOTE A GOLEM

ballyhoo; noun

bal·​ly·​hoo

1: a noisy attention-getting demonstration or talk

2: flamboyant, exaggerated, or sensational promotion or publicity

3: excited commotion

Aside from the box office attraction of popular stars and the heavy advertising by studios of their films, movie theater owners employed their own kind of promotion to lure customers. One of the earliest and most common was the use of large, colorful and dramatic posters and lobby cards supplied by the studios themselves, but it was left to theater owners to make sure they were plainly visible both on the outside and the inside of their venue. Later, pressbooks were printed by studio publicity departments and distributed to exhibitors with information on how to order posters and other visual displays, as well as suggestions on how to effectively bring added attention to their latest feature using canned radio spot scripts and other ideas. 

Among numerous other promotional strategies was to decorate the interior or exterior (or both) of the theater using thematic elements from the film advertised on the marquee (KING KONG is a good example). Often facilitated by the studios, these marketing gimmicks were dubbed ballyhoo (aka exploitation) by the press, and it was all designed specifically to create interest and excitement, as well as stimulate profits.  

One very early example of ballyhoo was for the 1920 German silent expressionist film, THE GOLEM, starring Paul Wegener, released in the United States on June 19, 1921 by Paramount Pictures.

Paramount exploitation representative Fred V. Greene, Jr. devised an idea that was fairly spectacular for the day: he had a sculpture designed of Paul Wegener as the mystical Jewish avenger known as The Golem for display at the Criterion Theater in New York. Purported to be 18 feet tall, it doesn't look quite that when compared to the man standing next to it in the photo, but it's still visually impressive. The statue was created at Brunton Studios (later bought by Paramount) at a cost of the then-princely sum of 50 dollars! An additional number of 3 foot statues were made for the purpose of window displays. There were also several hundred Golem figures cast in lead (!) and distributed as watch charms.

Greene's second idea was to add advertising for the picture printed on the top of beach umbrellas, which was ingenious as it was the height of summer season in New Jersey.

Exhibitors Herald, September 10, 1921.

A later edition of the EXHIBITORS HERALD (September 24, 1921) more correctly states the height of the Golem statue as being 12 feet tall. Written by another Paramount publicist, Eli M. Orowitz, he emphasizes that exhibitors "will make a gross error if they narrow the appeal [of THE GOLEM] to the Jewish population alone" (it played heavily in New York's East Side, known for its concentrated Jewish population), and goes on to explain the uniqueness of the film and what has been done in the way of ballyhoo to promote the film to all audiences. One of his suggestions to get the word out was to pass out handbills printed in English on one side and Yiddish on the reverse.

ORIGINAL GOLEM POSTER

Earlier this year, Heritage Auctions sold a (very) vintage 1920 poster of Paul Wegner's THE GOLEM. It is a beautiful example of German expressionism that was popular during the period. 

The artwork is by Austrian illustrator, Theo Matejko (1893-1946). He was one of the travelers on the Graf Zepplin's first trans-Atlantic flight. He served Austria in WWI and his propaganda posters for HItler's Wehrmacht were prolific.

When the gavel dropped, the piece was sold for $4,800.00.

Lot Description:

The Golem (Universum Film, 1920). Very Fine- on Linen. Austrian Poster (37.5" X 28.5") Theo Matejko Artwork.

A beautiful stone litho piece never before offered at Heritage, this poster features an impressive illustration by the skilled Austrian artist Theo Matejko. Seen as an excellent example of German expressionism and a potential inspiration for Universal's 1931 Frankenstein, this cinematic retelling of the famous Jewish folktale has Paul Wegener playing the magical clay giant that is both the savior and the destroyer of a Jewish community. As the most important part of a two to three panel poster, this upper panel has an excellent image of both Wegener and Ernst Deutcsh as the misguided assistant to the rabbi. Considering the placement of the panels, it is possible that theaters could choose to display the poster either in its complete state, in combined segments of the top two or top and bottom panels, or as the top or bottom panels by themselves. The poster presents very well with almost no flaws in the interior, showing edge and fold wear, slight fold separations, and some minor chips and tears. Although backed on linen, no touchup has been applied.

BELA LUGOSI'S LOST FRANKENSTEIN TEST REEL

There are still a few lingering Holy Grail quests that remain in the 100-year history of our beloved monster films. One that often comes to mind is the still-lost Lon Chaney vehicle, LONDON AFTER MIDNIGHT. Another is the presumed and most likely destroyed test footage of Bela Lugosi in his bid as the Frankenstein monster.

Filmed on June 16 & 17, 1931, on Stage 12, Universal’s largest sound stage (which still had a standing set from DRACULA), the event was intended to be momentous, but instead was doomed to disaster. Not a single frame of film or photograph of the debacle exists today, except for a promotional poster that shows an exaggerated, larger-than-life Lugosi trampling a city underfoot and gazing upon the carnage with his already famous laser-beam stare. However, from the testimony of those who were there, the monster depicted on the poster is far afield from the one that showed up on the test shoot.

Much has been discussed about director Robert Florey’s plum assignment handed to him by Carl Laemmle, Jr. The task was another Laemmle pet project -- to bring Mary Shelly’s novel to life on the silver screen as he had done with Bram Stoker’s. Out of the gate, the biggest challenge would be: Who will play the monster?

John Carradine claims he was considered, and, according to him, even tested for it. No solid evidence exists of either claim, although personally, I think he might have been a close second if Karloff had not been “discovered”.  In Laemmle’s mind, however, the role really was Lugosi’s from the start. Lugosi, of course, was still basking in the sudden fame he had garnered playing the title role in Universal’s DRACULA, released just months before. Lugosi was happy, Lugosi was proud; Lugosi might have even been a little bit … cocky. After all, wasn’t his mailbox at Universal overflowing with love letters and offers of marriage (and no doubt, other things) from his swooning female fans? As such, he blundered into the part without knowing exactly who – or what – he would be playing. Nor did he seem initially aware of how much of his European good looks would be covered up under cotton, collodion and God knows, what else. All this was the result of him being signed for the part by his agent without his knowledge, a “stupid woman”, according to Lugosi’s wife, Hope.

MOTION PICTURE HERALD May 16,1931.

This much is agreed upon by film historians and Monsterologists alike: While there are plenty of anecdotes to sift through, what happened on the day of filming is ultimately murky and remains the subject of debate. There are enough comments from interviews and statements of the principal participants of the test shot to piece together a framework of events, despite the fact that some of the facts may be from an overly-biased source and possibly or probably, not factual at all. Still, a number of authors have, over the years, put their best asphalt boot forward and come up with a scenario that was most likely played out on these fateful dates. While in no way a complete documentation of the event, I will try here to distill the information from a variety of sources I believe are trustworthy and reliable.

There were a handful of personnel on the set during the test shot. They included:
  Robert Florey (Director)
  Bela Lugosi (The Monster)
  Edward Van Sloan (Dr. Waldman)
  Dwight Frye (Fritz)
  Paul Ivano (Cameraman)
  Stock actors played Henry and Victor Frankenstein

It’s probable that there were a few other personnel present as well, such as electricians and lighting men.

The set was a hastily-built rendition of the laboratory “creation scene”, albeit sans Kenneth Strickfadden’s elaborate electric devices. Shot from the script written by Florey, Lugosi is said to have been laid out on a table, hidden under a sheet for most of the proceedings, until Van Sloan lifted the sheet and took a peek for just a few scant seconds, and utters, “It is like a death mask – of a monster!”

Legend has it that Lugosi first donned his own makeup. Director Florey attested that it was he who was the designer by years later producing a sketch that he had supposedly done at the time. Interestingly enough and not altogether unsurprising, Florey’s work was a close match to the final version that Jack Pierce used on Boris Karloff. In any event, Lugosi’s “hairy” makeup was rejected.

Next, Lugosi went on stage with a concoction applied by Jack Pierce. It is unclear whose design it was, and who had a hand in its direction, or if it was simply a preliminary design by Pierce who slapped it on the ungrateful Lugosi in response to his being miffed on the DRACULA makeup. Described as having a “polished, clay-like skin” (Van Sloan), the effect was said to have been accomplished by melting a combination of makeup materials with a hair dryer. Since Pierce was fond of having a “mad lab” of his own in Dressing Room No. 5 (the famed “Bugaboudoir”), it is not entirely out of the question.

The shot was a catastrophe as soon as Lugosi connected the dots and realized he was to spend the entire film under the makeup he supposedly created. As mentioned, like in DRACULA, he refused to let the newly-appointed head of Universal’s makeup, Jack Pierce, work on him and instead chose to adopt his own technique plied during his stage performances. Pierce wouldn’t enter the fray with full creative control over the monster’s makeup until later, until after Florey had been sacked and Lugosi shown the door in favor of new director and monster, James Whale and Boris Karloff, respectively. As a result of the shake up, Pierce had the distinct pleasure of working with a more compliant and understanding actor in the makeup chair. Karloff himself even participated in the unique and iconic creation, offering his own suggestions a time or two.

In an interview with a “lucid” Edward Van Sloan years later, he characterized Lugosi's test makeup as “something out of BABES IN TOYLAND” (!). He also stated that Lugosi’s head “was about four times normal size, with a broad wig on it”, making him look a lot like Paul Wegener in THE GOLEM.

Lugosi spent the shoot complaining, attempting to change his appearance and was generally disruptive. He even threatened to get a doctor’s note to say he was unfit for the burdens of the makeup. It was made very clear that Lugosi wanted the role of Henry Frankenstein, not the disgraceful role of a brute who spoke no lines.

After all the ballyhoo, I remained curious as to what Lugosi must have looked like in the very first filming of the Universal Frankenstein legend. So, I went to work in Photoshop and, with a few portraits and publicity stills, I attempted to recreate the implied “look”.

I ended up with two versions, the first with Lugosi’s face superimposed over Paul Wegener’s Golem, and the second with Lugosi’s face from when he finally did play the monster in FRANKENSTEIN MEETS THE WOLFMAN, over again, Wegener’s Golem.

The results, as you can see, are hideously hilarious. If they are anything close to the original, it’s no wonder why Carl Laemmle, Jr. “laughed like a hyena” during the test screening.

NEW SOUNDTRACK FOR AN OLD GOLEM

Modern soundtracks of silent films can run from the ridiculous to the sublime. The group of musicians collectively calling themselves HobGoblin have offered their interpretation on a recent combined DVD/CD release of THE GOLEM. While some may feel inclined to score it towards either of the aforementioned extremes, I prefer to place it somewhere in between.

Silent films, and especially silent horror films have been an attractive creative playground for the musically inclined for many years. Their lack of an existing copyright and ubiquitous availability make them easy candidates for creative embellishment. Consequently, there has been no shortage of attempts to attach new musical scores to early German Expressionist films such as NOSFERATU,  DAS CABINET DES DR. CALIGARI, and DER GOLEM.

Considering there is a lack of information regarding any musical accompaniment to the first (and long lost) 1915 version, the first original soundtrack for DER GOLEM (THE GOLEM in English) was heard with the film's release in 1920. Scored by German composer Hans Landsberger, it has since been considered lost as well. In her 400-plus page analysis of the film, Paul Wegeners Golem-Filme im Kontext fantastischer Literatur: Grundfragen zur Gattungsproblematik fantastischen Erzahlens (A Diskurs Film Book, 1989. A copy of the book, in German, is currently available at Amazon.com for the turn-to-stone price of $3,759.09!), Elfriede Ledig discusses the music, here translated:

"Hans Landsberger, a composer, [wishes] to be taken seriously. He wants to do away with the medley of styles (with Potpourri) and supplement the mosaic with a logically linked sound image that has a life of its own . . . of course Landsberger does not speak a folksy language; he created a grandly executed symphonic poetry which pairs together the assets of contemporary harmony with the instrumental arts of older lineage." (Eisenberg, Weimar Cinema: An Essential Guide to Classic Films of the Era)

In 1979, composer Karl-Ernst Sasse (b. 1923 - d. 2006), who has the distinction of producing over 500 film scores, was commissioned to compose a score for THE GOLEM by German television (GDR). While it is not listed on either IMDB or WIKI, it nevertheless seems to have been produced, further evidence as shown by a CD recording being currently available.

In his book, Musique Fantastique, Randall D. Larson describes the theme of Sasse's work: "Sasse assigned a specific theme for each of the two worlds [the German Imperial Court and the Jewish ghetto -- MMW.] as well as assigning a menacing, 3-note theme to the Golem itself, each harmonically connected and played off of each other as the score progresses." Sasse explains himself in the 1996 Capriccio Records liner notes written and translated by Lionel Salter, "It was my aim to create with my music a kind of parallel action which only in some places (e.g. bells and blowing the shofar) synchronizes with images of the action."

Kino Video/DVD released a restored version of THE GOLEM in 2000 with a new score by Latvian composer Aljoscha Zimmerman (b. 1944 - d. 2009). Here the music was infused with the Jewish and folk dance songs of Ledig's "older lineage".

Now we have the latest in the evolution of the near century-old German expressionist film in the form of the newly-released November Fire DVD, accompanied by a brand new soundtrack on compact disc. Recorded by a group of musicians calling themselves HobGoblin (in an homage to Argento's "house band", Goblin, perhaps?), this soundtrack immediately diverges from all things traditional as they have instead chosen to contemporize the venerable monster film using -- of all styles -- heavy metal. While traditional soundtrack listeners may immediately dismiss the idea as being heinous, even sacrilegious, the more adaptable and amenable film score fan may find the new interpretation enjoyable, maybe even going so far as to call it innovative.

HobGoblin's music is a collaboration of San Francisco Bay-area musicians comprised of personnel from other music projects Skinlab, Forbidden, Neurosis, Sacrilege BC, Claymation Horror Show, and Re:Ignition. The roster is made up of musicians Dave Ed, Dougal Hayes, Mark Hernandez, Rob "Wyrm" Corvey, Steve "Snake" Green, Strephon Taylor, tim, Dannygirl Waters, and Drew Cook.

This is the third in the re-release by November Fire of German silent horror films with new soundtracks, the first two being NOSFERATU and THE CABINET OF DR. CALIGARI. According to the press release, it took two years for the project to be completed. It is described by the band's publicist as "a very dark soundtrack, reflecting the black magic and willful destruction of the film. But amid the shadow world you are going to find a few surprises, including, dare I say it, a funk inspired party groove!" Funk, indeed!

As for the music itself, I would ultimately categorize it as a sub-genre of Prog Rock known these days as "Symphonic Metal", where the normal, harder edge of the purposefully abrasive style of Metal is enhanced by the addition of the lush expansiveness of electronic keyboards using orchestral and choir pads. There is (mercifully) no "Speed Metal" on dizzying display here, but the guitars remain drenched in compressed, bone-crunching and earth shattering distortion and feedback. The drums provide a thundering rhythm, and the keyboards, while not stacked with the usual infinite layers, serve as the score's foundation. I am guessing that some of the tracks were recorded live, but at least a number of them seem to be predominantly recorded "direct into the deck". The mix, fidelity, and headroom of the recording is very good.

While I feel this effort is overall admirable if nothing else by its audacity, I found a flaw that, if it had been considered and remedied, could have easily taken this soundtrack to the next level. Other than the music played by the instruments themselves, I do not detect a thematic premise here. The use of say, "a 3-note" leitmotif as described by Sasse would have gone far to cohesively unite the tracks. As it is, each track plays against the other, and any musical interrelation is lost in the sonic assault. I do have to say for the record that I have listened to the CD's but have yet to view the DVD, so there may be a contextual element that I am missing (I will be reviewing the DVD at a later date). Still, taken on its own, the score is at times intriguing, and throughout capably performed and professionally produced.

The Golem

HobGoblin

November Fire Recordings 2013

NFRCD006

2 CD's

$10.00 USD

Track List:

1. The Oracle (2:30)
2. The Oracle Part II (4:04)
3. Knight Florian (6:11)
4. The Secret of Clay (3:58)
5. Eviction Served (3:25)
6. Beautiful Miriam (2:58)
7. In the Shadows (5:01)
8. Deadly Cargo (2:43)
9. Insulting Response (3:09)
10. Waking the Dark (4:47)
11. Black Magic (4:37)
12. Black Magic Part II (6:08)
13. Aemaet (3:02)
14. The Golem Lives (4:12)
15. An Ominous Servant (3:09)
16. Let's Go Shopping (3:00)
17. The Emperor's Guest (3:29)
18. A Royal Party (4:55)
19. Heart of Clay-Forbidden Love (3:04)
20. Awaken By the Shofar Horn (5:04)
21. The Golem Is Raging (2:46)
22. Destroy Everything (4:18)
23. Pint Sized Killer (3:15)
24. Back to Clay (3:26)
25. Emperor Farewell (4:17)

November Fire's treatment of THE GOLEM is, at its core, ambitious. It is also daring, original, and perhaps even courageous. Thankfully, it stops short of being pretentious. Attractively packaged in an affordable gatefold Digipack, it screams out for a booklet with liner notes explaining more of the development and recording of this project, but instead is made only more conspicuous by its absence.

While some may exclaim, "Heresy!" to November Fire's efforts, those of the open-minded kind -- especially metal fans, and symphonic metal fans in particular who love horror (and who among them does not?) -- should give it a listen. Whether it is considered "willful destruction" or "innovative reconstruction" remains to be seen.

Ordering information is HERE or clicking on the HobGoblin logo on the sidebar.