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- Berliner Kurier. Take the quiz Bee Cubed Listen to the Various Metropolis and spell through all three levels. And when the machinery explodes, Freder has a vision in which the machinery turns into an obscene devouring monster. I mean, that's a fairy tale—definitely. The British Museum. Meanwhile, Various Metropolis devises a robot, captures the Various Metropolis Maria, and transfers her face to the robot--so that the workers, still following Maria, can be fooled and controlled.
Although Lang saw his movie as anti-authoritarian, the Nazis liked it enough to offer him control of their film industry he fled to America instead.
The result was astonishing for its time. Today the effects look like effects, but that's their appeal. It was chopped by distributors, censors and exhibitors, key footage was lost, and only by referring to the novelization of the story by Thea vonHarbou can various story gaps be explained. This is the version most often seen today.
Purists quite reasonably object to it, but one can turn off the sound and dial down the color to create a silent black-and-white print. I am not crazy about the soundtrack, but in watching the Moroder version I enjoyed the tinting and felt that Lang's vision was so powerful it swept aside the quibbles: It's better to see this well-restored print with all the available footage than to stand entirely on principle. Lang filmed for nearly a year, driven by obsession, often cruel to his colleagues, a perfectionist madman, and the result is one of those seminal films without which the others cannot be fully appreciated.
This message came to me from a reader named Peter Svensland. He and a fr Reviews Metropolis. Retrieved 31 August State Theater of Bay City. Archived from the original on 9 February Retrieved 9 February Archived from the original on 10 March Retrieved 25 December Archived from the original on 21 August Archived from the original on 4 February Archived from the original on 15 August Retrieved 2 May One Way Static. Light In The Attic Records.
The Line of Best Fit. Retrieved 16 October Berliner Kurier. Archived from the original on 16 October The New Yorker. Rotten Tomatoes. Fandango Media. Retrieved 14 September Archived from the original on 23 November Archived from the original on 23 August British Film Institute.
September Retrieved 19 December American Conservative. Retrieved 20 November The Guardian. Retrieved 18 February Archived from the original on 9 August Retrieved 25 January The Hollywood Reporter. Archived from the original on 30 January Kino Lorber. Archived from the original on 5 October Retrieved 16 February Archived from the original on 9 October Die Zeit. Archived from the original on 24 June Retrieved 28 August Sunday Star Times.
New Zealand. Film Comment. Archived from the original on 16 February Ashcroft: Compaint". Archived from the original on 19 April Retrieved 19 February Archived from the original on 28 September Archived from the original on 17 February Retrieved 16 December PaperPedia Wiki in Italian.
Retrieved 19 July Retrieved 24 July All Music. Archived from the original on 23 June Chicago Tribune. Archived from the original on 20 October Retrieved 1 September Archived from the original on 24 August Archived from the original on 30 August Archived from the original on 6 February The M Machine. Retrieved 15 November Films directed by Fritz Lang. Mabuse Works by Thea von Harbou.
Elisabeth und der Narr Hanneles Himmelfahrt. Giorgio Moroder. The great future city of Metropolis in the film is inhabited by two distinct classes: the industrialists live off the fat of the land, supported by the workers who live under the city and endure a bare-bones existence of backbreaking work. The subterfuge and deceit involving a robot duplicate of Maria culminate in a revolution that quickly spells disaster for all involved. Despite advances in filmmaking technology, no other film has surpassed Metropolis in terms of its impact on production design.
Metropolis was not a success in its initial German release. It was cut by about a quarter from its original length of minutes for its American release and a German rerelease. These shortened versions were further reedited many times over the decades, and various versions exist in different countries. For example, in an minute print was released with a rock sound track constructed by composer Giorgio Moroder. The original release print seemed lost forever, but in a deteriorated but nearly complete print that ran minutes was discovered in the archives of the Museum of Cinema in Buenos Aires , Argentina.
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Info Print Print. Table Of Contents. Submit Feedback. Thank you for your feedback. Introduction Production notes and credits Cast. Written By: Lee Pfeiffer. See Article History. Start Your Free Trial Today. According to Roger Ebert , " Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made.
The website's critical consensus reads, "A visually awe-inspiring science fiction classic from the silent era. Lane Roth in Film Quarterly called it a "seminal film" because of its concerns with "profound impact technological progress has on man's social and spiritual progress" and concluded that "ascendancy of artifact over nature is depicted not as liberating man, but as subjugating and corrupting him".
Exploring the dramatic production background and historical importance of the film's complex political context in The American Conservative , film historian Cristobal Catalan suggests "Metropolis is a passionate call, and equally a passionate caution, for social change". The original premiere cut of Metropolis has been lost, and for decades the film could be seen only in heavily truncated edits that lacked nearly a quarter of the original length.
But over the years, various elements of footage have been rediscovered. Two of these negatives were destroyed when Paramount reedited the film for the US market and the UK market. UFA itself cut the third negative for the August release. Between and , the Staatliches Filmarchiv der DDR , with the help of film archives from around the world, put together a version of Metropolis which restored some scenes and footage, but the effort was hobbled by a lack of a guide, such as an original script, to determine what, exactly, was in the original version.
In a new restoration and edit of the film, running 83 minutes, was made by music producer Giorgio Moroder , who outbid David Bowie for the rights. It was the first serious attempt made at restoring Metropolis to Lang's original vision, and until the restorations in and , it was the most complete version of the film commercially available; the shorter run time was due to the extensive use of subtitles and a faster frame rate than the original. Moroder's version of Metropolis generally received poor reviews, to which Moroder responded, telling The New York Times "I didn't touch the original because there is no original.
In August , after years of the Moroder version being unavailable on video in any format due to music licensing problems, it was announced that Kino International had managed to resolve the situation, and the film was to be released on Blu-ray and DVD in November. In addition, the film enjoyed a limited theatrical re-release. The moderate commercial success of the Moroder version inspired Enno Patalas , the archivist of the Munich Film Archive, to make an exhaustive attempt to restore the movie in Starting from the version in the Museum of Modern Art collection,  this version took advantage of new acquisitions and newly discovered German censorship records of the original inter-titles, as well as the musical score and other materials from the estate of composer Gottfried Huppertz.
The Munich restoration also utilized newly rediscovered still photographs to represent scenes that were still missing from the film.
The Munich version was 9, feet, or minutes long. In Friedrich-Wilhelm-Murnau-Stiftung commissioned film preservationist Martin Koerber to create a "definitive" restoration of Metropolis by expanding on the Munich version.
Previously unknown sections of the film were discovered in film museums and archives around the world, including a nitrate original camera negative from the Bundesarchiv-Filmarchiv , as well as nitrate prints from the George Eastman House , the British Film Institute and the Fondazione Cineteca Italiana.
These original film elements, digitally cleaned and repaired to remove defects, were used to assemble the film. Newly written intertitles were used to explain missing scenes.
The restoration featured a new recording of the original score by Gottfried Huppertz, performed by a piece orchestra. The running time was minutes. The restoration premiered on 15 February at the Berlin Film Festival , but with a new score by Bernd Schultheis, performed live by the Rundfunk-Sinfonieorchester Berlin.
In , in conjunction with Kino International , Metropolis ' s current copyright holder, the F. Murnau Foundation released the restoration, complete with Huppertz's original score, under the title the Restored Authorized Edition.
The safety reduction was intended to safeguard the contents in case the original's flammable nitrate film stock was destroyed. Under the auspices of the Friedrich-Wilhelm-Murnau-Stiftung, Berlin's Deutsche Kinemathek and Museo del Cine, a group of experts, including Anke Wilkening, Martin Koerber, and Frank Strobel began combining the newly discovered footage with the existing footage from the restoration.
One of their major problems was that the Argentinian footage was in very bad condition, with many scratches, streaks, and changes in brightness. Some of this they were able to overcome with digital technology, something that would not have been possible even in The reconstruction of the film with the new footage was once again aided by the original music score, including Huppertz's handwritten notes, which acted as the key resource in determining where the new footage went.
Since the Argentinian print was a complete version of the original, some scenes from the restoration were put in different places than they had been in, and the tempo of the original editing was restored. Organ discovered that the print contained scenes missing from other copies of the film.
After hearing of the discovery of the Argentine print of the film and the restoration project, Organ contacted the German restorers; the New Zealand print contained 11 missing scenes and featured some brief pieces of footage that were used to restore damaged sections of the Argentine print. It is believed that the New Zealand and Argentine prints were all sourced from the same master.
The newly discovered footage was used in the restoration project. Two short sequences, depicting a monk preaching and a fight between Rotwang and Fredersen, were damaged beyond repair. Title cards describing the action were inserted by the restorers to compensate.
The Argentine print revealed new scenes that enriched the film's narrative complexity. The characters of Josaphat, the Thin Man, and appear throughout the film and the character Hel is reintroduced. The new restoration was premiered on 12 February simultaneously in Berlin at the Friedrichstadt-Palast and on an outdoor screen at the Brandenburg Gate , as well as at the Alte Oper in Frankfurt am Main.
The Brandenburg Gate showing was also telecast live by the Arte network. The American copyright for Metropolis lapsed in , which led to a proliferation of versions being released on video.
Along with other foreign-made works, the film's U. Gonzales and as Golan v. Holder , it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain. Removing works from the public domain violated Plaintiffs' vested First Amendment interests.
The case was overturned on appeal to the Tenth Circuit,  and that decision was upheld by the U. Supreme Court on 18 January This had the effect of restoring the copyright in the work as of 1 January Though it will remain copyrighted in Germany and the rest of the European Union until the end of , 70 years after Fritz Lang's death, [Notes 2] under current U.
From Wikipedia, the free encyclopedia. Original theatrical release poster. Silent film German intertitles. The Tower of Babel in Maria's recounting of the biblical story was modeled after this painting by Pieter Brueghel . This audio file was created from a revision of the article " Metropolis film " dated , and does not reflect subsequent edits to the article.
Audio help. More spoken articles. These roles sometimes are incorrectly attributed to Brigitte Helm, since they appear just above her credit line.
Martin's Griffin. Retrieved 15 May Die besten Kultfilme in German. Munich, Germany: Heyne Filmbibliothek. Film Portal. Retrieved 10 January The New York Times. Archived from the original on 16 March Keep scrolling for more. Synonyms for metropolis Synonyms asphalt jungle , burg , city , cosmopolis , megacity , megalopolis , municipality , town Visit the Thesaurus for More.
Examples of metropolis in a Sentence a big, teeming metropolis where ambitious people from all over come to make their mark.
First Known Use of metropolis 14th century, in the meaning defined at sense 1. Learn More about metropolis. Resources for metropolis Time Traveler! Explore the year a word first appeared. From the Editors at Merriam-Webster. Dictionary Entries near metropolis metronymy metroplex metropole metropolis metropolitan metropolitanate metropolitan borough.
Time Traveler for metropolis The first known use of metropolis was in the 14th century See more words from the same century. English Language Learners Definition of metropolis. Kids Definition of metropolis. The movie has a plot that defies common sense, but its very discontinuity is a strength. It makes "Metropolis" hallucinatory--a nightmare without the reassurance of a steadying story line. Few films have ever been more visually exhilarating. Generally considered the first great science-fiction film, "Metropolis" fixed for the rest of the century the image of a futuristic city as a hell of scientific progress and human despair.
What many of these movies have in common is a loner hero who discovers the inner workings of the future society, penetrating the system that would control the population. Even Batman's villains are the descendants of Rotwang, giggling as they pull the levels that will enforce their will. The buried message is powerful: Science and industry will become the weapons of demagogues. Lang's film is the summit of German Expressionism, the combination of stylized sets, dramatic camera angles, bold shadows and frankly artificial theatrics.
The production itself made even Stanley Kubrick's mania for control look benign. According to Patrick McGilligan's book Fritz Lang: The Nature of the Beast, the extras were hurled into violent mob scenes, made to stand for hours in cold water and handled more like props than human beings.
The heroine was made to jump from high places, and when she was burned at a stake, Lang used real flames.