The soul of the moving picture (1924)

The Setting 85 but little significance for, the real value of decoration. But in contrast to that pale black and white drawing, this dance scenery gives evidence of a brilliant artistic brain from which ingenuity radiates and in which confidence may be placed when it is a question of brightening up a film. One sees that it comes from a brain which creates pictures in an easy even if extravagant mood, pictures which fire the imagination somewhat after the fashion of a cool flask of seasoned and sparkling champagne. We had a wonderful fulfillment of the phantastic decoration in Wegener's Golem, that fairy tale which told of the breathing of life into a figure of clay through the magic power of a Jewish Rabbi, who made the monster his servant — until it, having reached the point where it had real feelings, turned against its lord and master. Poelzig had created the milieu for the romantic action, Illustration No. 10. A fairy play of spooky streets and ghost-like alleys, the old, old house of which bent and crouched under the vault of heaven. There was the doomed and damned world of the Ghetto, isolated from all things agreeably human and threatened by gigantic walls. The sober fact of the business is that when genius takes a hand in the matter of scenery, and visualizes its ingenuity, doubts disappear and