Das Metropolis, benannt nach dem legendären Stummfilm-Klassiker von Fritz Lang, ist ein modernes Programmkino mit nostalgischem Charme. METROPOLIS. Regie: Fritz Lang. Jahr: Land: D. Metropolis. Der entstandene Klassiker "Metropolis" von Fritz Lang (Uraufführung Januar in Berlin) ist einer der bekanntesten Science-Fiction-.
METROPOLISIm Mittelpunkt dieses Stummfilmklassikers steht die futuristische, titelgebende Stadt „Metropolis“. Ihr Erbauer, Joh. Fredersen, hat als das „Hirn“ der Stadt von. Metropolis (altgriechisch μητρόπολις mētrópolis, wörtlich „Mutterstadt“) steht für: Metropole, allgemein eine bedeutende Stadt. Orte in den Vereinigten Staaten. Obwohl eine Frau das Drehbuch schrieb, zeigt Metropolis keine echten Frauen. Frauen werden nicht nur ganz wenig in dem Film gezeigt, sondern auch stark.
Metropolis Navigation menu VideoMetropolis, Original sound (1927), COLOR AND RESTORED HD
The film's use of art deco architecture was highly influential, and has been reported to have contributed to the style's subsequent popularity in Europe and America.
Lang's visit to several Hollywood studios in the same trip also influenced the film in another way: Lang and producer Erich Pommer realized that to compete with the vertical integration of Hollywood, their next film would have to be bigger, broader, and better made than anything they had made before.
Despite UFA's growing debt, Lang announced that Metropolis would be "the costliest and most ambitious picture ever. The film drew heavily on biblical sources for several of its key set-pieces.
During her first talk to the workers, Maria uses the story of the Tower of Babel to highlight the discord between the intellectuals and the workers.
Additionally, a delusional Freder imagines the false-Maria as the Whore of Babylon , riding on the back of a many-headed dragon. The name of the Yoshiwara club alludes to the famous red-light district of Tokyo.
Much of the plot line of Metropolis stems from the First World War and the culture of the Weimar Republic in Germany. Lang explores the themes of industrialization and mass production in his film; two developments that played a large role in the war.
Other post-World War I themes that Lang includes in Metropolis include the Weimar view of American modernity, fascism , and communism.
Metropolis 's screenplay was written by Thea von Harbou, a popular writer in Weimar Germany, jointly with Lang, her then-husband.
The novel in turn drew inspiration from H. Wells , Mary Shelley and Villiers de l'Isle-Adam 's works and other German dramas.
Harbou and Lang collaborated on the screenplay derived from the novel, and several plot points and thematic elements—including most of the references to magic and occultism present in the novel—were dropped.
The screenplay itself went through many rewrites, and at one point featured an ending where Freder flew to the stars; this plot element later became the basis for Lang's Woman in the Moon.
The re-release and reconstruction, which incorporated the original title cards written by Thea von Harbou, do not specify a year. Before the reconstruction, Lotte Eisner and Paul M.
Jensen placed the events happening around the year Metropolis began principal photography on 22 May with an initial budget of 1.
Gustav Fröhlich Freder had worked in vaudeville and was originally employed as an extra on Metropolis before Thea von Harbou recommended him to Lang.
Mabuse the Gambler. Lang also cast his frequent collaborator Rudolph Klein-Rogge in the role of Rotwang. This was Klein-Rogge's fourth film with Lang, after Destiny , Dr.
Mabuse the Gambler , and Die Nibelungen. Shooting of the film was a draining experience for the actors involved due to the demands that Lang placed on them.
For the scene where the worker's city was flooded, Helm and children from the poorest districts of Berlin had to work for 14 days in a pool of water that Lang intentionally kept at a low temperature.
Helm recalled her experiences of shooting the film in a contemporary interview, saying that "the night shots lasted three weeks, and even if they did lead to the greatest dramatic moments—even if we did follow Fritz Lang's directions as though in a trance, enthusiastic and enraptured at the same time—I can't forget the incredible strain that they put us under.
The work wasn't easy, and the authenticity in the portrayal ended up testing our nerves now and then. For instance, it wasn't fun at all when Grot drags me by the hair, to have me burned at the stake.
Once I even fainted: during the transformation scene, Maria, as the android, is clamped in a kind of wooden armament, and because the shot took so long, I didn't get enough air.
UFA invited several trade journal representatives and several film critics to see the film's shooting as parts of its promotion campaign.
Shooting lasted 17 months, with shooting days and 60 shooting nights, and was finally completed on 30 October The effects expert Eugen Schüfftan created pioneering visual effects for Metropolis.
Among the effects used are miniatures of the city, a camera on a swing, and most notably, the Schüfftan process ,  in which mirrors are used to create the illusion that actors are occupying miniature sets.
This new technique was seen again just two years later in Alfred Hitchcock 's film Blackmail The Maschinenmensch — the robot built by Rotwang to resurrect his lost love Hel — was created by sculptor Walter Schulze-Mittendorff.
A whole-body plaster cast was taken of actress Brigitte Helm, and the costume was then constructed around it. A chance discovery of a sample of "plastic wood" a pliable substance designed as wood-filler allowed Schulze-Mittendorff to build a costume that would both appear metallic and allow a small amount of free movement.
Gottfried Huppertz composed the film's score for a large orchestra. He drew inspiration from Richard Wagner and Richard Strauss , and combined a classical orchestral style with mild modernist touches to portray the film's massive industrial city of workers.
Huppertz's music played a prominent role during the film's production; the composer often played piano on Lang's set to inform the actors' performances.
Huppertz's score only accompanied the film once, at its original premiere. The score was not recorded until , for the film's first comprehensive restoration, with Berndt Heller conducting the Rundfunksinfonieorchester Saarbrücken.
It was released internationally on various DVD editions beginning in In , Huppertz's score was also played live by the VCS Radio Symphony, which accompanied the restored version of the film at Brenden Theatres in Vacaville, California.
For the film's "complete" restoration premiere, Huppertz's score was performed live and subsequently re-recorded by the Berlin Radio Symphony Orchestra , conducted by Frank Strobel.
At the time of its German premiere, Metropolis had a length of 4, metres, which is approximately minutes at 24 frames per second fps.
Considering that Metropolis was too long and unwieldy, Parufamet commissioned American playwright Channing Pollock to write a simpler version of the film that could be assembled using the existing material.
Pollock shortened the film dramatically, altered its inter-titles and removed all references to the character of Hel, because the name sounded too similar to the English word Hell , thereby removing Rotwang's original motivation for creating his robot.
Pollock said about the original film that it was "symbolism run such riot that people who saw it couldn't tell what the picture was about.
I have given it my meaning. Their experts have slashed my best film, Metropolis , so cruelly that I dare not see it while I am in England.
In Pollock's cut, the film ran for 3, metres, or approximately minutes—although a contemporary review in Variety of a showing in Los Angeles gave the running time as minutes,  and another source lists it at minutes.
Alfred Hugenberg , a German nationalist businessman, cancelled UFA's debt to Paramount and Metro-Goldwyn-Mayer after taking charge of the company in April , and chose to halt distribution in German cinemas of Metropolis in its original form.
Hugenberg had the film cut down to a length of 3, metres about minutes , broadly along the lines of Pollock's edit, removing the film's perceived "inappropriate" communist subtext and religious imagery.
Hugenberg's cut of the film was released in German cinemas in August Later, after demands for more cuts by Nazi censors , UFA distributed a still shorter version of the film 2, metres, 91 minutes in , and an English version of this cut was archived in the Museum of Modern Art MoMA film library in the s.
It was this version which was the basis of all versions of Metropolis until the recent restorations. In it was recopied and returned to Germany to be the basis of the Munich Archive restoration.
Despite the film's later reputation, some contemporary critics panned it. Critic Mordaunt Hall of The New York Times called it a "technical marvel with feet of clay".
In The New Yorker Oliver Claxton called Metropolis "unconvincing and overlong", faulting much of the plot as "laid on with a terrible Teutonic heaviness, and an unnecessary amount of philosophizing in the beginning" that made the film "as soulless as the city of its tale".
He also called the acting "uninspired with the exception of Brigitte Helm". Nevertheless, Claxton wrote that "the setting, the use of people and their movement, and various bits of action stand out as extraordinary and make it nearly an obligatory picture.
Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a speech he said, "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 Labor, to begin their historical mission". German cultural critic Siegfried Kracauer later wrote of Metropolis , "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] Wagner and [armaments manufacturer] Krupp , and on the whole an alarming sign of Germany's vitality.
Learn More in these related Britannica articles:. After directing the early sound masterpiece M , based on child murders in Düsseldorf, Lang became increasingly estranged from German political life.
He emigrated in to escape the Nazis and began a second career in…. Wells, but…. Science fiction , a form of fiction that deals principally with the impact of actual or imagined science upon society or individuals.
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Edit Cast Cast overview: Alfred Abel Johann Joh Fredersen Gustav Fröhlich Freder Fredersen - Joh Fredersens Sohn Rudolf Klein-Rogge Erfinder C.
Edit Storyline Sometime in the future, the city of Metropolis is home to a Utopian society where its wealthy residents live a carefree life.
Taglines: Words can't describe it! Edit Did You Know? Trivia Ranked number 16 non-English-speaking film in the critics' poll conducted by the BBC in