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Movie Title: Metropolis
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Fritz Lang’s METROPOLIS was very successful with both critics and audiences when it debuted in 1927 Berlin–but it was thereafter edited for distribution by Channing Pollock, who disliked it and removed sizable chunks of the film and substantially altered the storyline. The resulting film was admired for its visual style, but it proved a important and box office disappointment. Neglected in the wake of sound, surviving prints of the film were left to corrode and decay–and when it began to advance the home market via VHS and DVD the results were very hit or miss; Blackhawk released a fairly credible version of the truncated film to home video, but for the most piece the quality of these releases varied from barely mediocre to downright unwatchable.

Until now.

A mountainous chunk of METROPOLIS–perhaps as mighty a quarter of more–has been forever lost, but this Kino Video DVD release offers the single best version of the film available. The previously slice footage that calm exists has been restored; gaps in the film have been bridged by the occasional exhaust of stills and explanatory title cards; the film itself has been painstakingly and digitally restored; and the soundtrack is the Gottfried Huppertz recent created for the film’s 1927 Berlin debut. In seeing this version of METROPOLIS, I was struck by how very differently it reads from the previously available truncated version. The visual style and the narrative itself are mighty more lively and cohesive, and in the wake of this restoration it becomes impossible to state the film spot as landmark of international cinema.

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Freder Fredersen (Gustav Frohlich) is the son of Joh Fredersen (Alfred Able), who reigns over the astronomical city of Metropolis. Freder is surprised to recognize his lifestyle has been built on the unseen but backbreaking labor of an entire class of unseen workers who tend the machines that originate the city run–and he descends to the subterranean levels of Metropolis in an anguish to understand their lives… and, not incidentally, to accumulate the mysterious but sparkling woman Maria (Brigitta Helm) who has inspired his interest in the workers’ predicament. But his father is concerned by both Freder’s interest and Maria’s activities among the workers, and he turns to scientist C.A. Rotwang (Rudolf Klein-Rogge) for support. Rotwang has created a robot, and he agrees to give it the likeness of Maria in order to undermine both Freder’s adore for the girl and her beget activities. But Rotwang has a hidden agenda of his own: once the robot has been unleashed, he will utilize her to extinguish Metropolis and thereby dependable revenge on Joh Fredersen for past transgressions against him.

In many respects the epic is simplistic, but the film’s visual style and connotations are anything but. Deeply influenced by such art movements as Expressionism, Objectivism, Art Deco, and Bauhaus, the film is visually fascinating–not only in its scenic designs, but in director Lang’s renowned skill at creating the much crowd scenes that dominate the film and building the lag and tension of the film as it moves toward an intense climax. But while one can–and many do–admire the film purely at this level, there is quite a lot going on in terms of philosophical insist as well: while it offers few viable solutions, the film raises such issues as the relationship between capital and labor, the space of religion in recent society, human reaction to overwhelming technology, and (perhaps most interestingly) the drift of government into a class-conscious corporate entity. And religious motifs abound in the film: a largely deserted cathedral; Moloch; the Tower of Babel; and crosses–intriguingly juxtaposed with a repeating motif of the pentagram-like designs associated with the robot. It is spicy stuff.

There has been complaint that this restoration runs at wrong rush and the performances are therefore unnecessarily jerky. I did not collect this to be the case. In distinct instances the movement is deliberately jerky and mechanical–the workers are a case in point–but beyond this there is nothing for which the incompatibility between mute acting and unusual acting techniques cannot memoir. There has also been some complaint that the title cards should have been left in their fresh German and translated via subtitle. There is a definite validity to this, but it seems a minor quibble; title cards were typically translated in the calm era itself. The DVD includes a number of extras, including collected photographs, biographies of the major figures interested in the film, and two piquant documentaries-one on the restoration process and one on the creation of the film itself. Both are interesting; the audio commentary track by film historian Enno Patalas, however, is mildly disappointing. But when all is said and done, it is the film that counts. And this restoration is a noteworthy achievement, to say the least, a project which brings a gargantuan landmark of world cinema succor from the edge of the abyss. Indispensible; a must-own.

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–GFT (Amazon Reviewer) –

This is the 139 puny, tinted version, with the disjointed music, distributed by “JEF films” and labeled “Aikman Archive” in yellow on the box. The sound is awful and the video quality is dreadful. For worthy video quality, gather the version produced by Kino Video instead. although the Kino version has a poor sound track, at least the video quality is very valid. For advantageous sound, derive the Moroder version of Metropolis.

This review assumes that you have already seen Metropolis. For those strange with Metropolis, it is considered “the” first SciFi movie — the robot, the cold visual effects of future cities, and a few aroused scientist lab scenes. But it is only a big movie IF you gaze the legal version. Sadly, there are more then 6 versions of the film floating around —

Black/white, awful music, uninteresting playback

B/W, terrible music, quickly playback

tinted, dreadful music, plain playback

tinted, sterling music, hastily playback

plus a few versions with dreadful video quality (the DVD version is such a case) and other versions with missing scenes, a non-logical lope to the fable line due to terrible editing, etc.

Unfortunately, the plot with prints of Metropolis is a bit of a mess. Those looking for the tinted Girogio Moroder sound track should NOT gather this tape.

Although the bustle time of this version of the movie is 139 minutes, it is actually missing scenes that are in the 90 puny Kino Video and Moroder versions of the tape. The reason is that this 139 exiguous tape is accelerate at a SLOWER rush than the Kino tape is. Also, the music is totally out of sync and unrelated to the action.

Unfortunately, Moroder’s copy is not available from anywhere. At $24.95, I’d hoped that the folks at Amazon.com had found a copy but this is not the case. Someone should win a advantageous copy of the Moroder tape, sell that, and burn all of the other versions. Although some people object to Moroder’s rock soundtrack, at least it follows the yarn line and is an genuine sound track on its believe.

I was fortunate enough to have seen Moroder’s copy the first time I saw Metropolis and I am very tickled that I did.

To add further insult to injury, the CD of Moroder’s soundtrack is not the same as the music that appearred in the movie. The CD has some additional songs and is missing some others. So you can’t redub a video from the CD. So don’t pick up the “Moroder CD” and demand to remix your maintain copy of the video.

OK, having provided all of the background info, there is the review:

139-minute B&W version published by JEF films. The mask says it is a “newly restored version”, but image quality is so dreadful that I would rather call it “newly destroyed version”. It has actually more missing scenes than both Kino’s and Moroder’s versions, but runs longer because of slower frame bustle.

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