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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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Writers:

(screenplay), (novel)
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Top Rated Movies #109 | 6 wins & 5 nominations. See more awards »

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Cast

Cast overview:
... Joh Fredersen
... Freder - Joh Fredersen's Son
... C.A. Rotwang - the Inventor
Fritz Rasp ... The Thin Man
... Josaphat
Erwin Biswanger ... 11811 - Georgy
... Grot - the Guardian of the Heart Machine
... The Machine Man / Maria
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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 | Plot Synopsis

Taglines:

Fritz Lang's 1927 Masterpiece Now With 25 Minutes of Lost Footage (2010 re-release) 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  »

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Box Office

Budget:

DEM 6,000,000 (estimated)

Opening Weekend USA:

$19,386, 14 July 2002

Gross USA:

$26,435, 13 November 2011
See more on IMDbPro »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

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

Sound Mix:

(1995 restored version)| (original release)

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The "flooding underground" scene took three weeks to shoot, as Fritz Lang wanted to get the scene just right. This had a huge impact on the health of the actors as he also kept the water at a constant low temperature. See more »

Goofs

The interior sets of the Rotwang house are much larger than the exterior views (this discrepancy was first noted in a review by H. G. Wells). See more »

Quotes

Moving Title Card: As - deep - as lay - the workers' - city below the - earth, so high above - it towered the complex - known as the "Club of the - Sons," with its lecture halls and - libraries, its theaters and stadiums.
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Crazy Credits

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

Connections

Featured in A Century of Cinema (1994) See more »

Soundtracks

Destruction
Music by Giorgio Moroder
Lyrics by Pete Bellotte
Produced by Giorgio Moroder and Paul Dean
Performed by Loverboy
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 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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