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Metropolis (1927)

Not Rated | | Drama, Sci-Fi | 13 March 1927 (USA)
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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.

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(screenplay), (novel)
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Cast

Cast overview:
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Fritz Rasp ...
Theodor Loos ...
Erwin Biswanger ...
11811 - Georgy
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Storyline

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 Huggo

Plot Summary | Add Synopsis

Taglines:

There can be no understanding between the hands and the brain unless the heart acts as mediator. See more »

Genres:

Drama | Sci-Fi

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

13 March 1927 (USA)  »

Also Known As:

Metrópolis  »

Box Office

Budget:

DEM 6,000,000 (estimated)

Opening Weekend:

$1,070 (USA) (8 August 2003)

Gross:

$26,435 (USA) (11 November 2011)
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Company Credits

Production Co:

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Technical Specs

Runtime:

| (premiere cut) | (re-release) | (1927 cut) | (2002 Murnau Foundation 75th aniversary restored) | (DVD edition) (2002 Murnau Foundation 75th aniversary restored) | (Giorgio Moroder) | (2010 restored)

Sound Mix:

(1995 restored version)| (original release)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

For the U.S. version, Paramount hired playwright Channing Pollock to re-write the film around Fritz Lang's footage. He created an entirely new story that blamed all of the action on a greedy employee and identified many of the revolting workers as soulless robots. For the film's U.S. release, Paramount replaced the UFA logo with its own and reshot the credits. Lang refused to see this version. See more »

Goofs

In some of the close up shots on the children fleeing the flood, the kids are standing in one place jumping around while water is poured onto them- they aren't running at all. See more »

Quotes

The Machine Man: [disguised as Maria] Women and men, let no one miss today - ! Death to the machines - !
See more »

Crazy Credits

Restoration based on the version in the Filmmuseum Munich and material preserved in the Bundesarchiv-Filmarchiv See more »


Soundtracks

Here She Comes
Music by Giorgio Moroder
Lyrics by Pete Bellotte
Performed by Bonnie Tyler
Courtesy of Columbia Records
(from the 1984 re-release)
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Frequently Asked Questions

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User Reviews

 
Restored Kino DVD changed my view of this film.
13 March 2004 | by (Long Island, NY) – See all my reviews

I doubt that I'd ever seen anything resembling a "complete" version of METROPOLIS before, though certain of its scenes were familiar to me, if only as used and abused in such films as Diane Keaton's HEAVEN (1987). In any case, whatever I had seen before had nothing like the clarity and beauty of the Kino restoration. I expected to be distracted by the restoration's technique of concise written descriptions of missing sequences, but the narrative coherence that these provided was definitely worth it. As "exaggerated" as the style of acting seems by contemporary standards, some performances, such as the Master of the city, are amazingly nuanced and layered, and Brigitte Helm is stunning as both Maria and her evil clone. The meticulous design of the film, the unerring camera placement and Lang's muscular choreography of the crowd scenes are breathtaking. I'd thought of METROPOLIS as a curiosity ("important" = "dull") but now I've come to appreciate it as the seminal work it has always been.


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