Metropolis (1984 Re-release Of 1927 Film) [SOUNDTRACK]

Giorgio Moroder

Product Details

• Audio CD (October 25, 1990)
• Original Release Date: March 13, 1927
• Number of Discs: 1
• Format: Soundtrack
• Label: Paramount Pictures
• ASIN: B00000260Q
• Also Available in: Audio CD  |  Audio Cassette  |  MP3 Download
• Average Customer Review: 4.4 out of 5 stars See all reviews (32 customer reviews)
• Amazon.com Sales Rank: #46,307 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

21 of 22 people found the following review helpful:

4.0 out of 5 stars Good soundtrack awash with Moroder synths, November 18, 2003

By	Daniel J. Hamlow (Narita, Japan) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

In 1984, Fritz Lang's classic silent sci-fi hit Metropolis was reissued in tinted colour and sporting a rock and pop soundtrack. While many serious silent films may consider this a blasphemous take on Lang's film, I'll have to say that was the first time I saw it, with the blue, green, violet, and red tints, along with a host of songs written by Giorgio Moroder of Donna Summer fame, and the one who gave Berlin their only #1 hit. Most of the songs have an industrial type sound blare with synths that either pulse or are awash like the red of a glaring sunset.

For some reason, the lyrics of "Love Kills" listed in the booklet do not match what Mercury sings. However, the industrialized sound is something akin to Queen's "Invisible Man." "Love kills/drills you through your hear/love kills/scars you from the start" and many such lyrics colour this song.

Pat Benatar's ballad "Here's My Heart" is my favourite song here, as it was the love theme in the movie. There is a more pop feel to it, and though it comes three years previously, I can imagine Tiffany doing a remake of this on her first album, minus the Moroder synths.

Yes-man Jon Anderson does "Cage Of Freedom," whose pulsing synths and rock guitars identify this as a classic Moroder-type song. The song depicts the claustrophobic and desperate condition of the workers and subjects of Metropolis: "Cage of freedom, growing smaller/till every wall now touches the skin/cage of freedom/filled with treason/changing sides as the losses begin."

Another song that deals with the enslaved humans is the haunting choral of Cycle V's "Blood From A Stone." There are only three verses here, each potent in its lyrical content, which given today's corporate mentality, is apropos: "Cold machines that never stop/even if a man should drop/mercy never lets her face be shown/they draw blood from a stone."

"The Legend Of Babel" is a keyboard instrumental by Giorgio Moroder, meant to conjure a fascinating mindscape or some blinding fantasy vision, sounding like a composition from one of the nineteenth century Romantics.

"Here She Comes", sings Bonnie Tyler, in a track meant to signify the hypnotic quality the main female lead Maria has. One verse is meant as an allusion to the robot that substitutes her: "If she's the same how come she's different now?" Her vocals have her usual power

Giorgio Moroder's sound somehow doesn't fit Loverboy, as "Destruction" sounds like a way-slowed down version of "Turn Me Loose" with the Moroder synths. That's only partially true with Billy Squier's "On Your Own." However, the guitar work, overlayed with synths in some parts, and catchy chorus work well to bring out a man for whom the time has come to free his soul from tyranny.

How well do we know people, or the expressions on their face? "Can a smile conceal a sneer?" "What makes the truth curl up and lie?" are two crucial question Adam Ant asks in "What's Going On," a pulsing rocker that depicts the collapse of the dictatorship in Metropolis.

"Machines" is the second Moroder instrumental, and is a quick-paced exercise in keyboards and pulsing synth beats.

The Metropolis soundtrack is a good compilation of songs, no mistake. Like all soundtrack songs, there are some that can only be understood within the context of the movie it was meant to enhance, such as Bonnie Tyler's song, and there are others that transcend that and can be applied universally. Within the soundtrack, the artists' songs are good; however, I wouldn't compare this to other works in their oeuvre-they've done better songs. That's due to Giorgio Moroder doing all the music and writing or co-writing and dolloping each artist with his brand of paint.

22 of 24 people found the following review helpful:

5.0 out of 5 stars NEW SOUNDTRACK RESTORES AN ALMOST LOST MASTERPIECE, May 23, 2000

By	Kelly B Faltermayer (Houston, Texas United States) - See all my reviews

I must begin by saying that if 1980's pop electronica didn't do much for you then, this album won't do much for you now. It is very dated, but that's ok. It contains songs by Freddy Mercury of Queen, Pat Benatar, Jon Anderson of Yes, Cycle V, Giorgio Moroder, Bonnie Tyler, Loverboy, Billy Squier, and Adam Ant. And of these artists, the one that still endures is Freddy Mercury. So, it should come as no surprise that his is the first song on the METROPOLIS CD.

I think LOVE KILLS is one of most beautiful songs ever recorded; maybe it's because I'm partial to Freddy Mercury. He has an extraordinary voice and a command of it uncommon in the pop music industry. I love all the songs in the CD but this one is my favorite. CAGE OF FREEDOM by Jon Anderson is deeply rooted in Philosophy. It is a very thought-provoking song about the meaning of fear, suspicion, civilization, capitalism, tyranny, greed, hate, and paranoia. He encapsulates the METROPOLIS message in phrases like "...all the trappings of our own design. Blind ambition, steals our reason. We're soon behind those invisible bars...on the inside looking outside; to make it safer we double the guard." and, "Cage of Freedom growing smaller till every wall now touches the skin... Filled with treason, changing sides as the losses begin." Cycle V does some beautiful synth work on BLOOD FROM A STONE. And so does Giorgio Moroder on THE LEGEND OF BABEL and MACHINES. Bonnie Tyler does a song about the evil robot that sweet Maria is turned into. It's a great tune that combines Tyler's unique voice with guitar sounds that truly rock. Loverboy's guitars also rock in DESTRUCTION. Billy Squier has captured quite an eerie sound in ON YOUR OWN. Adam Ant asks "Is there a mask behind the face...can a smile conceal a sneer...can we see clear?" in his song WHAT'S GOING ON. "How does it feel to lose control? - Feels like hell. So who's a friend and who's a foe, can we tell?"

If you're familiar with the METROPOLIS film, you know its premise and hopefully its history. It was deemed immoral and subversive by the sacred cows of power in Germany during those dark years. We are lucky to have any copies of the film at all. Giorgio Moroder has done an amazing job of giving it a more suitable soundtrack to emphasize its message. I was in college when I saw the colorized version of METROPOLIS. It was required viewing for one of my classes. I think Fritz Lang would be very flattered with Giorgio's updates. The original film, of course, stands on its own as a landmark in cinematography. Yet, the colorized version with its new soundtrack gives it a beauty and power it never had. The essence is the same; the message is unblemished...what Giorgio has done is restore its impact. Why is this 1984, colorized version of METROPOLIS not available on DVD? Surely I'm not the only one who wants to buy a copy.

13 of 14 people found the following review helpful:

3.0 out of 5 stars A powerful memento of a stunning film, May 1, 2004

By	shaxper (Lakewood, OH) - See all my reviews

It's impossible to discuss this soundtrack without discussing the 1984 re-edit of Metropolis from which it came. Unless you're a die-hard fan of industrial 80s pop (I don't know many of us who are), this CD is not worth your time unless you've seen the film.

Giorgio Moroder's re-edit uses these songs, not because they're particularly amazing tunes, but because they're particularly amazing tunes for the film, perfectly working with the images and movements to create an amazingly emotional and exciting experience. I find myself constantly listening to this soundtrack, not because I adore the songs, but because I adore what they did for the film. I hear Cycle V's "Blood From a Stone" and immediately see the workers' elevator descending at a haunting pace to the underground city, or hear Pat Benetar's "Here is My Heart" and relive Freder and Maria's first kiss, as well as the awe-inspiring close of the film (no spoilers here).

I first discovered Moroder's Metropolis because I was a die-hard fan of Queen and Freddy Mercury, but quickly learned that Mercury's "Love Kills" is surprisingly one of the weakest tracks from the film. For better or worse, Moroder and his Metropolis demand a very different quality from each of the popular artists involved in the soundtrack than you'd normally expect from them. Morodor wrote many of these songs for the film himself, and produced all of them, so don't expect typical Freddy Mercury, or Pat Benetar, Bonnie Tyler, or Adam Ant (and who the heck is Cycle V, anyway?).

It's also important to note that, for some unfortunate reason, the soundtrack contains a different version of "Here is My Heart" than the one heard in the film. It's still very powerful, but this is probably the single most memorable track from the film, and it's somewhat discomforting to hear a different incarnation of it on the album as a result.

Buy this CD in order to relive one of the most stunning marriages of music and cinema you will ever see (which is what the music on this soundtrack was written for); not to enjoy the music on its own. You must see and love the film first.