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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 big chunks of the film and substantially altered the storyline. The resulting film was admired for its visual style, but it proved a distinguished 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 arrive 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 broad chunk of METROPOLIS–perhaps as considerable 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 cleave footage that smooth exists has been restored; gaps in the film have been bridged by the occasional exercise of stills and explanatory title cards; the film itself has been painstakingly and digitally restored; and the soundtrack is the Gottfried Huppertz unique 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 anecdote itself are noteworthy more fascinating and cohesive, and in the wake of this restoration it becomes impossible to roar 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 mammoth city of Metropolis. Freder is surprised to study his lifestyle has been built on the unseen but backbreaking labor of an entire class of unseen workers who tend the machines that develop the city run–and he descends to the subterranean levels of Metropolis in an danger to understand their lives… and, not incidentally, to earn the mysterious but lovely 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 befriend. Rotwang has created a robot, and he agrees to give it the likeness of Maria in order to undermine both Freder’s like for the girl and her fill activities. But Rotwang has a hidden agenda of his own: once the robot has been unleashed, he will consume her to end Metropolis and thereby proper 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 celebrated skill at creating the much crowd scenes that dominate the film and building the amble 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 issue as well: while it offers few viable solutions, the film raises such issues as the relationship between capital and labor, the residence of religion in unusual 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 entertaining stuff.
There has been complaint that this restoration runs at improper urge and the performances are therefore unnecessarily jerky. I did not secure this to be the case. In clear instances the movement is deliberately jerky and mechanical–the workers are a case in point–but beyond this there is nothing for which the disagreement between mute acting and current acting techniques cannot story. There has also been some complaint that the title cards should have been left in their new German and translated via subtitle. There is a sure validity to this, but it seems a minor quibble; title cards were typically translated in the soundless era itself. The DVD includes a number of extras, including collected photographs, biographies of the major figures enthusiastic in the film, and two captivating 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 considerable achievement, to say the least, a project which brings a gargantuan landmark of world cinema serve from the edge of the abyss. Indispensible; a must-own.
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–GFT (Amazon Reviewer) –
This is the 139 dinky, tinted version, with the disjointed music, distributed by “JEF films” and labeled “Aikman Archive” in yellow on the box. The sound is poor and the video quality is unpleasant. For good video quality, secure the version produced by Kino Video instead. although the Kino version has a dreadful sound track, at least the video quality is very righteous. For profitable sound, acquire the Moroder version of Metropolis.
This review assumes that you have already seen Metropolis. For those unusual with Metropolis, it is considered “the” first SciFi movie — the robot, the cold visual effects of future cities, and a few angry scientist lab scenes. But it is only a sizable movie IF you explore the moral version. Sadly, there are more then 6 versions of the film floating around —
Black/white, abominable music, dreary playback
B/W, awful music, rapidly playback
tinted, poor music, dreary playback
tinted, gracious music, hastily playback
plus a few versions with poor video quality (the DVD version is such a case) and other versions with missing scenes, a non-logical trot to the fable line due to awful editing, etc.
Unfortunately, the location with prints of Metropolis is a bit of a mess. Those looking for the tinted Girogio Moroder sound track should NOT accumulate this tape.
Although the urge time of this version of the movie is 139 minutes, it is actually missing scenes that are in the 90 itsy-bitsy Kino Video and Moroder versions of the tape. The reason is that this 139 limited tape is urge at a SLOWER accelerate 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 score a salubrious 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 tale line and is an fine sound track on its enjoy.
I was fortunate enough to have seen Moroder’s copy the first time I saw Metropolis and I am very ecstatic 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 gain the “Moroder CD” and inquire of to remix your gain 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 unpleasant 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 rush.
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Kenneth Mays