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
Fritz Lang started shooting with a different actor cast as Freder. During the early days of shooting, however, Thea von Harbou noticed the good-looking Gustav Fröhlich, one of the extras cast as a worker. When the first rushes featuring Freder proved unsatisfactory, she urged Lang to let their original actor go and cast Frohlich in the part. See more »
When Freder, and Rotwang are fighting on top of the Cathedral, it is daytime. But in the shot of the workers, Grot, and Joh on the ground, it is night. See more »
What were you doing in the machine halls, Freder?
I wanted to look into the faces of the people whose little children are my brothers, my sisters...
See more »
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 and . 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.
This must be one of the greatest movies of all time. I found myself almost in a state of shock during the whole movie. Everything was perfect. The story was great, the filming was pure genius and the effects directly from another dimension.
I don't think any movie after this one have gotten so much out of the available effects of the time as this one. Nowadays they have super computers generating special effects. Sure they look good, but it's no big deal making them. Back in 1926 computers weren't even invented yet, all effects had to be done by hand or in simple editing. And when you take a look at all the thins that have been done in this movie, it's impossible not to get impressed. Huge buildings, explosions, flooding, picture phones (however did he come up with the very idea?), transformation sequences, robots and so on. No movie has ever pulled the limits of special effects as much as this one. Star Wars and Jurassic Park are also known as limit pullers in special effects, but they don't even come close.
Then you have the filming. Everything is perfect. The use of body language is tremendous, the light setting perfect, everything well timed and perfectly captured by the camera. I've never been witness to such a treat in filming other places.
And the story!!! Perfect in every detail. Intriguing, exciting and thrilling with lots of religious undertones and tyranic leaders. No wonder Hitler liked this movie...
I don't know how the original music of the film was, but the new music for the restored 139 minute version I saw was really good and moodseting.
All in all. This is one of the most perfect movies of all time, and it deserves anything it can get. Never has a 10/10 been as secure as for this movie...
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