NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Kino Lorber Blu-ray (April 2020): Short story - while this is from the same Friedrich Wilhelm Murnau Foundation 4K-restoration of original film elements - stating essentially the same text (below) for the Masters of Cinema also via two original negatives, same tints etc., the 1080P image has some differences. This is mainly in the Kino having more varied contrast - producing richer color tints, sometimes brighter - often darker, and a more 'saturated' image. I like that there is an option, I think I prefer the newer visuals but I need to live with them for a while. the 'lighter' Masters of Cinema appearance tends to show more detail. We've compared some captures below. The Masters of Cinema is more technically robust and may have a slight edge 'in-motion'.

NOTE: The U.S. version (also compared) is exactly the same on both releases as far as my eyes can determine. Click to large captures below for full screen capture comparisons.

Another similarity in the presentations involves the audio options in which the Kino also offers composers Stephen Horne, acclaimed electronic music producer Lukasz “Wudec” Poleszak or musician and film-score composer Admir Shkurtaj score as choices. However, while they are also in linear PCM - it is via 16-bit as opposed to MoC's 24-bit transfers. So MoC wins in this department. It also has original German intertitles (excepting the text of the scroll which is in a more modern, clearer font) and the US version also has the same score by Cordula Heth.

For extras, Kino add the much anticipated Tim Lucas commentary (only on the German version). He is full-prepared with plenty of extraneous research on the cast, crew and production. Tim digs pretty deep citing influences of latter works and Der Golem has a lot of offer film students and horror fans - who - he admits - may have not actually seen the film - only via stills etc. but these releases, certainly, provide a revelation for genre fans. He discusses Wegener's 'various' Golem films and much more. While this Kino Blu-ray also offers the 22-minute split-screen video piece of comparison of German and U.S. release versions - here it is narrated by Lucas! 'For Der Golem, two original negatives were created from the exposed negative material, one for exploitation in Germany and one for overseas markets. Usually, there were two cameras alongside one another, filming simultaneously. In such cases, the action is the same but the cameras' vantage points differ slightly. The export negative was the basis of a photochemical restoration undertaken by the Cineteca di Bologna, Filmmuseum Munchen, and Fondazione Cineteca Italiana in 1995, utilizing footage from various archives. Digitization and additional restoration work was performed in 2003 by the Friedrich-Wilhelm-Murnau-Stiftung and Cinematek (La Cinematheque Royale de Belgique). Selected scenes of the two are compared via split screen. On the left is the export negative (1995/2003 restoration). On the right is the German distribution negative (2018 restoration). Tim includes some highly relevant and interesting perspectives on the compared footage included here.'

So, that's it - another release of this essential, seminal, horror, offering a different video presentation, all the previous three audio score options and a new commentary by our favorite Tim Lucas PLUS the 22-minite comparisons, narrated by him. I think that's enough of a sales job for me. I encourage others to indulge - this is deeply ensconced intro 'must own' Blu-ray territory. Easily worthy of a double-dip. Our highest recommendation!   

***

ADDITION: Masters of Cinema Blu-ray (November 2019): Masters of Cinema have transferred the classic 1920 Der Golem, wie er in die Welt kam (aka "The Golem") to Blu-ray for their spine #213. It is cited as being from a "from a stunning 4K digital restoration of the original film negatives, completed by FWMS in 2017" and the presentation is preceded by a text-screen with this information: "For DER GOLEM, WIE ER IN DIE WELT KAM, two original negatives were assembled from the exposed negative material for evaluation at home and abroad. The double shots of a scene were usually made by rotating parallel with two cameras, so that the shooting angles differ from each other. In 1995, the export negative was the basis of a photochemical restoration at Cineteca di Bologna, Filmmuseum Munich and Fondazione Cineteca Italiana via copies from various archives, and a digital reworking was released by the Friedrich Wilhelm Murnau Foundation for the home video market in 2003 on DVD internationally. The negative of the materials from Cinematek in Brussels, which was probably originally intended for the German market, was the basis for a digital restoration by the Friedrich Wilhelm Murnau Foundation and Cinematek in 2018. Both scenes are juxtaposed here in split screen. On the left, the export negative (1995/2003 restoration); on the right, the domestic negative (2018 restoration)." You can see from our screen captures below how impressive this 4K-restoration looks in 1080P. Magnificent on a dual-layered disc with a very high bitrate. Of course there are some inconsistencies considering the surviving elements age, but the majority of the presentation is remarkably crisp and tight with phenomenal detail and depth. This is 'year-end poll' stuff.

On their Blu-ray, Masters of Cinema give the option of three linear PCM stereo track (24-bit) with scores by composers Stephen Horne, acclaimed electronic music producer Wudec or musician and film-score composer Admir Shkurtaj. What a marvelous idea of have the choice between the three unique and expressive tracks. Masters of Cinema offer optional English subtitles (for the original German intertitles) on their Region 'B' Blu-ray.

The Masters of Cinema Blu-ray provide a brand new and exclusive audio commentary by the British novelist, scriptwriter, playwright and film writer, Scott Harrison. We have seen Harrison's contributions before, usually in the form of essays accompanying a Blu-ray release, though the author is impressive in his passion, preparedness and relaxed manner in exporting a film commentary. I enjoyed his talk and hope to hear more of his analysis in the future. There is an excellent new 26-minute video essay by critic David Cairns and another by filmmaker Jon Spira (running 10-minutes). We are also treated to a 1/4 hour, essay by Dixon Smith entitled "The Kingdom of Ghosts" discussing 'where are the Jewish Horror films?' and it includes many, more modern, examples (aka 1937's The Dybbuk to the Coen's opening in a A Serious Man), Masters of Cinema include the The US version of the film, also fully restored, and featuring a score by Cordula Heth. It runs 0:59:10.383, filling 17,307,494,976 bytes of space and having a 34500 kbps, max'ed out bitrate but we have compare some captures below and it is not of the same quality as the German version although it is watchable, with damage marks. Lastly, is a 22-minute video piece highlighting the differences between the domestic and export negatives of the film with split-screens. The package contains a collector's booklet featuring new writing on the film by Scott Harrison; and reprints of illustrations from the original 1915 novel.

One of the best Silent Era Blu-ray releases of the year. Der Golem has sorcery, persecution and a giant benevolent savior made of clay - what more could you possibly want? It's a film I am thrilled to have seen in such a stellar 4K-restored transfer and have the option of the three resplendent scores, but commentary and education visual essays - let's not for get the collector's book. This Masters of Cinema Blu-ray has our very highest recommendation! Buy with confidence and a high level of anticipation!

Gary Tooze