In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
In the midst of the Russian Revolution of 1905, the crew of the battleship Potemkin mutiny against the brutal, tyrannical regime of the vessel's officers. The resulting street demonstration in Odessa brings on a police massacre.
Sergei M. Eisenstein
Sometime in the future, the city of Metropolis is home to a Utopian society where its wealthy residents live a carefree life. One of those is Freder Fredersen. One day, he spots a beautiful woman with a group of children, she and the children quickly disappear. Trying to follow her, he is horrified to find an underground world of workers who apparently run the machinery that keeps the Utopian world above ground functioning. One of the few people above ground who knows about the world below is Freder's father, John Fredersen, who is the founder and master of Metropolis. Freder learns that the woman is called Maria, who espouses the need to join the "hands" - the workers - to the "head" - those in power above - by a mediator who will act as the "heart". Freder wants to help the plight of the workers in their struggle for a better life. But when John learns of what Maria is advocating and that Freder has joined their cause, with the assistance of an old colleague. an inventor called ...Written by
Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a 1928 speech he declared that "the political bourgeoisie is about to leave the stage of history. In its place advance the oppressed producers of the head and hand, the forces of Labour, to begin their historical mission". See more »
When Freder and Josaphat are climbing down into the miner's city Freder is barefoot. When they are taking the children up the stairs, he has shoes again. See more »
Man at Yoshiwara Nightclub:
For her - all seven deadly sins!
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Restoration based on the version in the Filmmuseum Munich and material preserved in the Bundesarchiv-Filmarchiv See more »
The Paramount release, released in the United States in mid-1927, is presented by Adolph Zukor and Jesse L. Lasky. This version also replaces the original Ufa credits with more appropriate Paramount titles (i.e. Majestic Mountain); and deletes certain scenes and makes changes. Here are the deleted scenes:
The pursuit of Freder and Josaphat by the Thin Man, Fredersen's assistant, is deleted. This scene was lost until it was found on the 2008 copy in Buenos Aires.
The rivalry between Fredersen and Rotwang over Hel, Rotwang's now-dead love, was completely deleted from the Paramount version, but is restored in the 2002 restoration by the Murnau Foundation and later completed in the 2008 copy.
Certain names are changed from the original German in the Paramount version. For example, Joh Fredersen's name is changed to "John Masterman", Josaphat's name is changed to "Joseph", and various other changes.
Metropolis is surely one of the greatest films ever made. Its scope, its reach, its magnitude and its message are truly incredible even by today's standards of film-making. Seen in context of its premier in 1927, Metropolis is a giant of filmdom and film history. Lots of people always ask what makes a movie great, and in particular, Metropolis. A great film is one that stirs the imagination, leaves the viewer with images that will last perhaps forever, forces contemplation of issues dealing with the very essence of life, and achieves a kind of immortality. Metropolis is a film that succeeds with each of these criteria. Metropolis is a film that hailed in a new era of making films with it futuristic settings, halluciatory scenes, and its breadth of spirit and sheer scope, most clearly exhibited by its cast of epic proportions. There are images that blind the viewer with genius such as the beginning scene of the changing of the workers or the creation of the robot Maria. Metropolis challenges its viewers to think about their relationship with society both as a whole and with each individual, as well as contemplate the rationale of divisions amongst peoples and groups. Lastly, Metropolis has stood the test of time. It is a landmark film and an ignitor for the evolution of the science fiction/fantasy film genre. The story itself is simple,a Biblical allegory, about how people with a vision should share that vision in order to make it happen. The film is anything but simple. It is immense, and a rich legacy that director Fritz Lang has left us.
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