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**1/5/13: ADDED REVIEW OF 2011 KINO "GIORGIO MORODER PRESENTS METROPOLIS" BLU-RAY (ASIN: B005J7K964) AND DVD (ASIN: B005J7K950) **
**12/9/10: ADDED REVIEW OF 2010 KINO "THE COMPLETE METROPOLIS" BLU-RAY (ASIN: B0040QYROK) AND DVD (ASIN: B0040QYROA)**
**12/9/10: ADDED REVIEW OF 2010 REGION-B EUREKA "METROPOLIS" BLU-RAY (Amazon UK ASIN: B0041SMF50)**
**2/24/03: REVIEW OF 2003 KINO "METROPOLIS" DVD (ASIN: B00007L4MJ)
I'm lumping my reviews together, just like what Amazon is doing! The above 4 video editions of the German silent classic will be covered in this review. Also, see my video clip on the left to see disc covers, film clip comparisons, etc. (Those who can't see my video clip, especially iOS users who can't see flash video, please go to Amazon's FULL site and look under my review for the comment section, where I posted an external link to the video.)
Released in 1927, amid the golden age of the silent film era, Fritz Lang's METROPOLIS is a stylistic tour-de-force that has remained influential for the rest of the century, inspiring films from "Frankenstein" in 1931, "Bladerunner" in 1982, to "Dark City" in 1997. With its imaginative set design, elaborate photography, bold editing, and its then groundbreaking special effects, this German sci-fi silent classic exemplifies the highly inventive period of German Expressionism, which also include such film masterworks as "The Cabinet of Dr. Caligaru", "Nosferatu", "The Last Laugh", and Lang's "Die Nibelungen".
In 2011, Kino released the 1984 "Giorgio Moroder" version of the classic on Blu-ray and DVD. This version controversially contains a rock score accompaniment which, to many people, myself included, is quite inappropriate for the film.Read more ›
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11 of 11 people found the following review helpful
I first watched Metropolis about a year ago on a VHS version. I thought it was a very good movie, but it was certainly no masterpiece. The visual effects and backgrounds were striking and unique, but the picture was not particularly clear. The story was interesting but didn't make a lot of logical sense. The editing was all over the place in a way that made it difficult to follow what was going on. And most annoyingly the music had absolutely no relationship to what was happening on screen. Recently I attempted to rewatch this film in the version contained in a public domain boxed set. Unfortunately the picture quality was so bad that I gave up after only five minutes.
Then I purchased Kino's Complete Metropolis, and it is almost like watching a whole new film. A reasonably good historical oddity of interest only to cineastes and sci-fi fans is now a masterpiece which can be fully appreciated by the general viewing public. Essentially four things were done to this edition: restoring nearly a half hour of lost footage, cleaning up the picture quality to pristine, re-editing the film for a more logical flow, and including the musical score which was originally composed for the theatrical premiere.
SCORE: The orchestral score is amazing. Never in my life have I seen a silent film where the music matched the picture so well. It changes with the mood of the story, and it even matches rhythmic action. When the workers operate the machines by moving their bodies in jerky, German rhythm, the orchestra keeps a perfect beat.
PICTURE: I cannot praise the picture quality of this DVD enough. It is obvious that some of the best digital restoration experts in the world worked on this project. You can see a tear run down a man's face.Read more ›
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It is both ironic and unfortunate that Fritz Lang is best remembered for one of his worst films. When he had finished Metropolis in 1926 he declared himself dis-satisfied with the result as it flopped on initial release and was cut to bits by Paramount for its American distribution. When it was re-released in Germany, the American cut was used until its ban by Josef Goebbels. All old prints were thought to have been returned to Ufa and destroyed. Metropolis as Lang had originally meant it to be was lost for 80 years. How fortunate we are then at the finding of an almost complete print in Buenos Aires in 2008 and the resulting glorious Friedrich-Wilhelm-Murnau-Stiftung restoration found on this release of the film by Masters of Cinema. The inserted extra material amounts to some 30 minutes of footage which does change the film quite significantly. We see much more of 'The Thin Man' (Fritz Rasp) as he follows Worker 1181 (Erwin Biswanger) back to Freder's apartment via the risque Yoshiwara District while Freder (Gustav Frohlich) takes over his job at the clock machine cum crucifix. More importantly we see a monument built to Freder's mother, Hel by Rotwang (Rudolf Klein-Rogge) and key scenes between Rotwang and Freder's father, Joh (Alfred Abel) where it is revealed that both had been in love with Hel before her death during childbirth. Freder's lack of (and consequent search for) a mother and this bad father/good father dialectic enhances the importance of the scene where Freder goes crazy after catching his father with his love Maria (Brigitte Helm) in that it encourages a more overt Freudian Oedipal reading of the whole film. The extra footage puts Maria firmly in the center of the narrative as the virgin/whore mother figure who drives Freder and ultimately causes the destruction of the city.Read more ›
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