"It's not Maria!" © Frader

The film, which is more like the scale of its creation, is more like the pictures of the genre of peplum of the same time, I mean the same "Intolerance" by David Griffith, that is, those paintings where the creation of the main action locations is a whole art, epochal and epic, which is clearly visible on the screen, for even after almost ninety years (just think about this figure!), Metropolis simply "takes" the viewer by the throat and does not let go of it from the very beginning to the very end with one of its unthinkable scope, which can not be ignored.

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But besides this, there are still many reasons why this tape is considered one of the greatest masterpieces of world cinema. Other epithets, such as those that say about which of the world's personalities this tape likes, to whom there is no, what lists are included, and so on, what history has attributed to this picture, I will not say, because there are many and many of them and you can study them too. themselves, incidentally wondering the value in the film art of this tape, because of whose greatness in the area of ​​the general media, I already advise you to view it.

But if we go deeper into the concept itself, into the scenario work, into the general universe of the film, then much more interesting details are opened for the viewer, in view of which both recognition becomes justified, and an understanding of the mistake that this film has not been taken to the village is not forgivable.

This film is a revolutionary vision that grants itself to the audience and, as if anticipating their ecstasy, almost blocks the air that enters the lungs of nothing expecting the beholder, literally not letting them breathe with every new frame, every second and every plot twist. Fritz Lang created something huge, something beautiful, epic and at the same time uncharacteristically vital. Completely giving himself up to the power of the fiction of the most dominant entourage, which simply casts off its "freshness" of themes and fulfillment into a shock, especially since it is time to remember the time of this creation, the great director at the same time uniquely multifaceted and thoroughly examines the creation of the person himself, the scenario itself, changing his image to something inorganic, unnatural, thus showing the tandem of the living and the lifeless, thereby denoting our sincere feelings, and the feelings pretended, those that are inherent in us e of his own free will.

"Metropolis" is an extremely beautiful, profound film not only about all-consuming power, not only about oppression, not only about faith, but about the people themselves - that's what I want to say first. It was in this tape that Fritz Lang, before his "Fury", went deep into the theme of the bestial intuition of the human race, showing a crash on criminal insults as something terrible and obscene. Hundreds of allusions to religion, government and politics create from this film a pure metaphor - a scale and elaborate one, in which some things stem from the fact that this should happen for the sake of a greater understanding of what is happening.

Yes, we can say that here and there the music is unsuccessfully chosen in the film, for where the moment requires epic winds, only a modest flute plays there. Or to criticize the film for the fact that the acting game is hyperbolized here, forgetting about the fact that the film was dumb, and in those days it was required to play exactly in order to completely convey the whole spectrum of emotions, why this claim is simply a complaint about age, in fact, stupid and not justified, especially if you recall the really great talents of Alfred Abel, Gustav Frohlich, Brigitta Helm and other actors, who for two and a half hours the film addresses the viewer to a lot of judgments.

In fact, this movie can be rejected only if a person in a priori does not like this kind of genre or something like that. For its theme, its testimony to the main, dogmatic idea of ​​peace and equality, about justice and human nature, about the power of deception and the value of truth, Metropolis marks itself as a recognized masterpiece of cinema, made at the beginning of the second quarter of the last century, and moreover to this day able to compete with many of today's films, not only because of its relevance inherent in the classics, but also simply because of the technical part. A legendary film, a source of inspiration for such writers and writers as George Orwell, Aldous Huxley, Furuya Usamaru, Isaac Azimov, and so on and so forth - this list is endless, as is the invaluable value of this large-scale, beautiful, truly biblical, not only because of the content , but also the very performance, the canvas, to which I personally designate any really sensitive claims I can not, instead sincerely applauding.

P.S. Thank you for attention.

This film does not need a remake.

First time I watch a black and white movie. Silent black and white cinema. German dumb black and white movie. Reading the information on those films that I have already looked through, basically they were anti-utopias. I often found references from reviewers to some "Metropolis". Digging in the information, I step by step approached this magnificent creation. When I came across a figure that meant the number of people who took part in this, let's say, the project, I realized that I had to just look at it.

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Honestly, after watching the trilogy, while the trilogy, "Transformers" from Michael Bay, I thought I knew about the scale of everything, but no. I realized that I was wrong, and I suddenly felt ashamed, because the same "Transformers" and other films with a touch of globality are removed with the help of the latest inventions, and here .. there were people, living people from flesh and blood .. this film and breathes the energy of its creator.

Interlacing such a simple at first glance and perhaps, such a funny story for today's viewer creates the whole atmosphere of the film. I was a little confused about the truth of the apocalyptic allusions, scenes with the Seven Deadly Sins, I found it just a relic of that era. Perhaps in the 1930s. this was actual.

Gustav Froehlich and Brigitte Helm played their roles magnificently, albeit with some, extra, zeal, apparently it was necessary to play before that. Brigitte deserves special praise for her "wriggling" in the frame when she played scenes of the false Mary.

As a result, we are waiting for a dynamic ending for great music with elements of a happy ending. I sincerely hope that Hollywood does not take the liberty of taking the liberty and responsibility of making a remake of this picture. After all, its ridiculous elegance, its epic, its atmosphere can not be conveyed again. Such films are shot once a millennium. Perhaps in the 21st century we will have our Metropolis in which we will cover the problems of our century and touch upon the great deeds of the past and the present.

9 out of 10

The Great Movie

Wow ... No, seriously: Wow! After the end of the film, I wanted to stand up and applaud as if I had just watched a grandiose production somewhere in the theater, despite the fact that everything happened at night, behind a small computer monitor in the usual Brezhnev's panel. You thought that the old films - it's not yours, and nothing will make you sit for two and a half hours, looking at the dumb, black and white action? You have never been so wrong, because before you "Metropolis".

I'll start with music. The soundtrack brings endless pleasure. The body shudders and creeps, when the moving notes of the orchestral compositions move and jump to the rhythm of what is happening on the screen. Music supports the already strong atmosphere in the film, and sometimes it pushes it to the extreme peaks. I watched the version of 2010, I did not hear the accompaniment of other versions, so I can not evaluate it, but I definitely recommend the version I watched from the Berlin Film Festival, because the music in it is gorgeous.

Of course, the most directly influenced by the atmosphere and powerful scenery. I can not even imagine how titanic it was for those times to erect such scenery, to create such a living spirit of an anti-utopian city. The picture can be touched. It is worth touching - and now you are standing in this awesome city, amid the colossal houses of Metropolis and the stuffy shops of the underground city of workers. The rigor of the constructivist forms of residential buildings here is echoed by the variety of sculptures and the luxury of the Art Deco style, in which Yoshiwara and the New Tower of Babel are executed, which sets the film the atmosphere of the dieselpunk. Large-scale buildings, and even huge extras for a couple of globally expressed thoughts form an incorruptible sense of scope.

Individual admiration is caused by characters. There are many of them, and despite the lack of sound and color, each hero is unique and colorful, and this, I think, is worth a lot. Here is the greedy, uncompromising tycoon Yo Fredersen, and his son, Frider, who is preoccupied with the destiny of the oppressed class of workers, thus going against the interests of his father, and an insane genius forced to share his love for one woman with the city's ruler. There is a cruel, self-satisfied intelligence agent here, there is a cowardly but devoted friend of Freder who leaves a pleasant warmth in his heart. And of course Maria is a pious and chaste seer, holding back the workers' rebellion with all her might, as well as her evil alter-ego - the Machine Man, the Babylonian harlot, sowing discord, hatred and chaos around, awakening animal lust in men.

Brigitte Helm was able to translate both images due to her brilliant facial expressions and plastics. Maria evokes sympathy and faith in her spirituality, and from the look of the opposite of the girl sometimes becomes uncomfortable. In general, the film a lot of what is not at ease, some scenes literally drove into horror. This is due to the fact that the picture is very expressive, it has a very high degree of emotion and unrestrained sensations, keeping the viewer in suspense.

The plot closer to the finale is twisted into an action drama, where several (more than two) opposing sides are involved, each of which pursues its goals. The topic and the message are relevant to this day, despite the fact that the film has been around for almost a century. This is one of the examples when we should pay attention to the warnings of our ancestors. The predictions of Metropolis are accurate, and with incredible sincerity they try to stop people from the negative tendencies of technological progress, from social inequality and from the creation by these circumstances of the iron heart of a man of a new time, ruthless and cold-blooded.

Verdict: I did not regret the time spent watching the movie. More I will say, I wanted to see something else from Fritz Lang. Greatness and universality permeate the picture literally every second - in appearance and audiorade, in the captured emotions, in the philosophy of the film and its amazing topicality. "Metropolis" is a brilliant film, a film-legend, and if he has to have some kind of evaluation, then it is exceptionally the highest.

Fritz Lang - Metropolis

A film about the charm of rich men, about the phenomenon of the "prince" that all girls dream about. Frader, who has been surrounded by women serving him since childhood, spoiled by care and care, erotic games and all that the poor dreams can only see, is able, unlike a poor man, to see in a woman more than pleasure, to see in a woman a mission, a Task. The film was shot at the peak of feminism and is a "feminist" film, although shot by a man.

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Enrichment contributes to changing the social role of women. Beloved by the rich man Freder, Maria is not a frightened bustle of the peasants, Maria is the leader, no matter how absurd it may seem. And she certainly is ridiculous in her sermons, but Fritz Lang, intent on finding a woman not just a sexual partner, but a "leader" seems that the naive in general sermon read by Mary is capable of saving the world. Frader lives in the knightly dope of his wealth, ready to missionary serve her social, political, philosophical will. The rich are more sexual than the poor, the rich are able to serve a woman unlike a poor man, in his naivety trying to use it for pleasures.

A woman is not created for pleasure, she is created for a full life in which she has a worldview, beliefs and noble Freder is looking for just such a companion-intellectual, which makes him superbly sexy. Her ideas deeply impress him, turning out to be able to fundamentally change his life. Frauder sees in the woman a super task, a destiny that forces again and again ... to think about the essence of love.

Maria and Frader "save the world" ...

What's more interesting in this film is the image of the scientist Rottwanda who has gone mad. It has long been seen as a danger to scientists, and they, scientists, are more experienced than us and are objectively more aware of the real. Many of us are far from knowing, life is good for us, as long as it represents a love story. Many live for love, disdain ... knowledge. It is disingenuous, because the image of the scientist in the snobbish film of the poet Fritz Lang is vulgar - Rothwand is intelligent and even knows life, but his vision of the world ... is vulgar. In fact, science is vulgar, because it is accessible to everyone and the image of Rotvanda does not cause sympathy.

The film should be watched and thought of (especially intellectuals) reflecting on the vulgarity of what we call Knowledge and the nobility of lovers, that knowledge of life should not turn into sarcasm.

Lovers Maria and Frader call for social peace and are enriched by compassion for both the poor and the rich and the director of the film evokes sympathy for this.

Everything is brilliant and complex

Already from the first minutes of the film, it became very interesting to me. Very striking scenery (it is clear that everything was modeled by hand, in those days there were no such technologies as now). For 1926, it seems to me, this is really unusual and bold. Even in modern films, you do not often see this, and if you meet, it's the result of computer graphics. Also, what I can not keep silent about is that geese and ... peacocks were present on the set! Yes, it was peacocks, even at first thought that it was imagined. Oh, it's really cool, because it's very difficult to shoot small children and animals, you know.

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Of course, my brain, accustomed to modern films, took a special view of the schedule and the production of Metropolis. Actors like the dolls, I admit, scared me a little (immediately horrified images of horror films, which featured dolls). Of course it's clear that firstly, in those days when the film was shot, it was fashionable to look like that, and secondly, because the film was black and white, the actors had to impose such a make-up (powdered face and black shadows in front of the eyes - as well as men, and women, otherwise their faces would look inexpressive).

A scene in the garden, where Frader met a mysterious stranger, very beautiful and deep. In a silent movie in general, it is very important to convey to the viewer the feelings and emotions experienced by the hero, and here they succeeded.

The fact that the actions unfold in the future can be understood from the very beginning of the film, but this unreal garden really amazed me, I admire the director's imagination. The film made an indelible impression on me. I really did not just like it, I even became a little fan of Fritz Lang. To think up such a story ... it's amazing. The impression is produced by the fact that this film was shot in 1926! This is amazing! Fritz not only came up with an amazing story, but also embodied it on the screen, told it to everyone. Only I had doubts about the fact that at that time, those people did not perceive the film in the way I perceived it, yet almost a century has passed since those times. The people who made this film, people brave and ingenious, bow to them.
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I'll be GO-LO-VOY !! (from)

"Metropolis" - the film is really a cult and, unlike many paintings of that era, significant for the history and evolution of the cinema, Metropolis is actively cited and reinterpreted today, and many of the trails launched by it are reproduced in blockbusters of our days. What kind of film is this and how does it attract attention?

First of all, in Metropolis, his figurative series is remembered, and it is to him that the authors who make homage to Langu usually send. The image system of the film is very interesting and paradoxically seems more profound and multi-valued than the ideas it is intended to express (about them a little later). The very idea of ​​using the two-fold archetype of Babylon - associated with the Tower and with the Whore - is very good and opens great opportunities. And the statues of mortal sins coming down from the seats in the Gothic cathedral to become the footstep for the dancing woman in the cabaret, named after the Japanese "red light district", a robot woman! .. And the stunning image of the Moloch machine! .. On the example of "Metropolis" it can be clearly seen that expressionism is primarily oriented toward interaction with direct viewer perception.

Operator work, special effects and especially mise en scene - all above all praise. "Metropolis" - a real feast for the eyes and in terms of purely cinematic - an unequivocal masterpiece. Scenes of tower construction, dancing in "Yoshiwara" or round dance around the ruins of Machine-Heart are not only beautifully conceived - they are perfectly realized.

However, we return to the plot. What do these stunning images tell us about? "Metropolis" is (conditionally) science fiction, but not at all a dystopia or an anti-utopia, contrary to popular belief. Lang, on the whole, is not against the society he portrayed; on the contrary, he stresses in every way that he does not want this social order to be liquidated. "Metropolis" is very rooted in the era of its creation - a difficult economic situation in the Weimar Republic, a somewhat feverish fun that grasped in the interwar period those classes that could afford to have fun, and the constant threat of revolution are the main themes of the film. Or, rather, the main theme is precisely the fear of revolution. Lang is so afraid that she will sweep away the European culture and the fruits of civilization, that - as if portraying in the film more than the terrible conditions for the existence of workers - in no case wants a violation of the status quo. (It is curious, in which of the elements is more the merit of Lang, who in a few years will escape from triumphant Nazism over the ocean, and in what - his wife and screenwriter Tei von Harbow, a member of the NSDAP).

Excessive protective pathos badly affects the morality of history: The heart, they say, will act as a mediator between the Head and Hands, and the Heart is, apparently, a rich philanthropist ... It is not very clear if he (and can he) really improve the conditions of life workers, should (and can) the higher classes (who showed themselves to be useless during the film).

In general, the Metropolis scenario has many questions: a whole series of plot twists remains strange and poorly motivated, starting with the desire of Fredersen the elder to bring with great blood the resignation of so absolutely submissive workers and ending with the role of Josaphat in terms of young Freder. Despite the status of the classics, "Metropolis" in many ways resembles modern blockbusters with special effects in every frame - the connectivity of the script is sacrificed to the fascination of history and bright visual images.

Especially big problems with motivation in the main characters - Frederick Frederson and Mary (the image of the latter in general causes a lot of questions). Why Freder was so impressed by the children who entered the Garden of the Sons, what exactly he wanted to do until he met Mary - all this is shrouded in mystery. The situation is exacerbated by the fact that Gustav Frohlich playing his role plays rather weakly and looks like a cardboard lover from the old folk theater (I understand that heartache is one of the main metaphors of the film, but not to take your hand from your chest all two hours - obvious bust).

But the other characters and acting are quite curious. Yo Friedersen performed by Alfred Abel was very touching (it is characteristic that there are also many questions to the motivation of this character, but the acting play makes them less sharp). Dr. Rothwang and now can be considered one of the brightest images of a mad scientist in the history of cinema - and it is not surprising that his playing Rudolf Klein-Rogge actually stands at the origins of this archetype, performing also the role of the famous Dr. Mabuse. I have very mixed feelings called Fritz Rasp, who plays the role of the nameless handmaid Fredersen - even by the standards of a bit of the cinema of the era of expressionism, his acting manner is strange and frightening ... but this is probably what is planned.

In general, "Metropolis" - these are magnificent memorable images, high-quality special effects and a weak plot. Actually, this fully explains why this film has such a huge number of direct and indirect references in all areas of culture, but the tape itself is very much

All in the world are divided into masters and slaves

Near the inscription "Metropolis" Fritz Lang 1927-year "is a postscript" Kinoavangard ". Probably, everything is said here. While there were no computer special effects, visual entertainment was achieved only with the help of full-scale scenery and extras, when the world did not know the color film, there was no technique for sounding films, in general, when there was a cinema in infancy, the director came from Vienna Fritz Lang looked into the future, returned from there (probably, he managed to do this with Georges Meles, another great innovator of the cinema) and shot a tape that became not only a national treasure, but also a world heritage, and not only on in the film, but also in the arts in general. He owns the first stroke of the pen in the cinema, when the genres of fantasy and anti-utopia found their reflection not only in books (the idea of ​​"Metropolis" belongs to the writer Tee von Harbou, then she was Lanza's wife), but also on film. Then you can find in all the tapes of this genre the influence of what Fritz Lang created.

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The gloomy, viscous, terrible atmosphere of the film still passes through you, if you look at this picture. As in Dante Alighieri's "Divine Comedy", you imagine his Hell, and you yourself understand that you live in Paradise, so you see Lang's folly of the inequality of different classes of people. And the technological city is divided into two parts. And not in the abstract understanding of the different layers, but naturally you see how under the ground without rest in hard labor there are people with the help of which others living on the surface live as if in an oasis in the midst of a heat-wracking desert. Slaves and masters, masters and slaves - this is the distinct division from Fritz Lang and Thee von Harbow, clearly demonstrated in Metropolis. And beyond the window of 2015, the film Langa 88 years old, but nothing has changed - someone is working without bending his back, and someone is counting the steps in the chic rooms, thinking about which of the respectable restaurants he will have dinner today. So those who call Fritz Lang a seer can continue to calmly be sure of their rightness.

But all of the above refers to the anti-utopia created by Lang and his wife, and in fact we must not forget that in Metropolis a large part of the film refers to fiction. Do you remember how Isaac Azimov invented robots on the pages of his fantastic works, which then became very similar to us? So, there is such a suspicion that Azimov drew inspiration for his fantasies about the future of the works of Lang and Thee von Harbaugh. They are very convincing, I guess, in the 20s of the last century, they surprised, shocked the audience with the plausibility of how mechanisms similar to people (the term "robot" did not exist in those days) take our places and what threat they can carry to all mankind. It's amazing that a film made so long with its visual impact brings emotions more than the expensive special effects that the films of the comics DC and Marvel are famous for. That's where the spirit of realism remains - in Metropolis, and not in the current blockbuster.

It should be mentioned and about the actors who played in this epoch-making film. Traditionally, for black and white cinema, which, when shown on white sheets, was supported by the piano accompaniment so that the viewer could feel the spirit of the picture more strongly, the actors are very, very emotionally working with facial expressions and gestures. In view of the fact that their words could not then be heard, all the feelings were transmitted in such a way as to give the viewer the closest possible understanding of what is happening on the screen. In this respect, Gustav Frohlich, who allowed himself to try to destroy the world where there are masters and slaves, was the most successful, although he himself belonged to the privileged class. Such a humanism is only welcome, but, having broken the system, has it not only made it worse? It will be necessary for you to decide, the dear spectator. Alfred Abel and Brigitta Helm will also leave a lasting impression, and Helm will even perform in two swarms at Metropolis, demonstrating a vivid actor's talent, where such contrasting images the actress will convincingly convey to the public.

For its time, "Metropolis" - is a giant leap forward in the future of cinema. Huge scenery, numerous extras - everything was put on the altar of art, which soon turned into one of the fastest growing and even after almost a century to stop not going. Fritz Lang was clearly ahead of his time and, perhaps, became Jules Verne from the movie. Eternal film, forever recorded in the annals of history. What kind of assessment can there be, because we do not put Monet Lisa on them, just like Pushkin's work. Brilliant, and that's it.

City on bones

There is an opinion that in our time everything is a remix; this even has a great film on Youtube. Everyone copies and modifies the existing material - and this is not bad in itself, this is reality. For many works, we can trace approximate sources. Metropolis is the founder of a whole pleiad of films that tell of the deplorable coexistence, and then of the opposition of various social strata: servants, just small people with celestials, with those they serve. And if this idea is too general and previously played out in the literature, then this film we can consider a kind of cinematic source, at least the most significant, if we argue about any first-priority. We see a practically verbatim paraphrase in the Matrix, in the Hunger Games, in Time, in Snow Through, in Elysium, in the recent Vysotka, and their ilk. And if Metropolis was inspired by the nighttime New York, it can be assumed that Gotham was inspired by the Metropolis; and the Metropolis in which Superman operated was in general a direct copy of the 1927 Metropolis. In the whole heap of films, we can also meet the composition structure of Metropolis, the inherent components of which are the passionate restrained part of society, a certain chosen one, his beloved, the mystical prophecy, the special role and meaning of love, and the logical outcome of insurrection and revolution.

But we will depart from the search for the results of the influence of Metropolis to the film itself. It shows the device of everyday life of people in a high-tech city, which is literally divided into two bipolar social classes - the inhabitants of the Depth, under the ground servicing cars for the life support of the upper city, and, in fact, the inhabitants of the upper city - the elite. Workers here are identified with prisoners - faceless, disenfranchised, marching with low-lowered heads from the grate to the grate, whose traffic is strictly controlled by traffic lights - even cars that are completely dependent on these conditional prisoners have more power over them. But the prisoners are not quite right here, and they will not fail to remind us of this, naturally comparing convicts with slaves. These people do not have the right to sadness and, in general, to their own feelings - even death itself is no more than routine, than the failure of worn out parts that have worked out their time, which will be replaced in the blink of an eye. No wonder the film begins with a demonstration of the work of various mechanisms and rotation gears, pointing us to the place of the person in the lower city. Even the time of calculation here has passed to the 10-hour dial, counting the beginning and end of the shift. But life in such a rhythm exhausts all the human resources - by the way, it seems that the workers look oppressed for this reason, and not because of totalitarian governmental pressure. In general, it is worth mentioning that in many respects (by today's standards) the film is quite artless; the totalitarian system itself is not totally totalitarian, and we see this on the screen repeatedly.

The inhabitants of the upper city benefit from "falling from the sky", as well as leaflets advertising services, inherent in the empty, idle way of life of its inhabitants. Of course, under such conditions, social tension grows, reaches its limit and as a result, an explosion occurs. There is nothing new and unusual here, and Metropolis is a fairly universal story about the struggle of the exploited with the exploiters for power and justice. And since we were convinced above that this topic is still very topical, we can call Fritz Lang a real visionary from the cinema, anticipating the creativity of descendants for generations ahead. And what can we say about the distant descendants, if we see the repetition of many details of the film in the dictatorship of the Third Reich that soon established itself. One of Hitler's favorite films more than a decade before the tragic events predicts and experiments, and prisoners of concentration camps, and gas chambers, and strict ornamental artwork, composed of human bodies. In general, the visual component of the film should pay special attention.
There is no deep philosophy in the film about the irrational nature of the riot, its spontaneous and contradictory specifics, the nature of its unpredictable consequences. So if the story told in "Metropolis" can be called typical and uncomplicated, then these epithets definitely will not suit the description of the local video series, since it is truly outstanding and, perhaps, anticipating the time - after all, this unique film of interest in the viewer of those years did not call. The plot here is of secondary importance and inferior to the importance of the technique itself for depicting the events that are taking place. The film was applied innovative special effects, made with extreme technical scrupulousness, although for the development of the plot is not required. A brilliant episode of the creation of the robot, the Tower of Babel, fantastic machines, 36 thousand people extras - the special effects here are valuable and only tell us about Lang's inclination to pompous ornamentation. But if in the Nibelungs it had a mythical meaning, then here it is an end in itself. The visual side in Metropolis has become dominant, and the confused plot conflicts are not so important. The actors themselves here - by the way, perfectly fulfill their roles in full accordance with the preset conventions of silent cinema - only parts, live "motifs" of the entire scale decorative composition. As well as orchestral music, designed here only to help the viewer to strengthen and clarify the emotions caused by the "picture" - for example, remember the disturbing, truly blood-cooling motifs at the end of Prelude.

Metropolis is the most costly film of its era, like two films, two of its mentally similar followers who chose the path of sophisticated and meticulous cinematic artistic techniques: Kubrick's Space Odyssey and Cameron's Avatar. This film, with detailed plans of a fantastic city, seemed to be designed for us - people living in a modern technocratic society. On people who have become in fact a part, an appendage of the machine world. "Metropolis" was included by UNESCO in the list of the highest achievements of mankind, it largely determined the development of modern Hollywood and in general commercial film production with its special effects. And any person interested in cinema, must see this grandiose architectural monument from the cinema.

10 of 10

The head is afraid, the hands are doing.

"There must be a heart between the head and the hands"

Metropolis is far from a fairy tale city, a city of dreams. And not everyone would want to wake up one day in this crazy city.

Frader is the son of a magnate who runs the Metropolis of Johann Fenderson. Goes into the underground city and finds out the terrible secrets of this wretched place. And decides to fight evil with their own hands.

"There must be a heart between the head and the hands"

This film is like a grotesque to modern society. It shows the social inequality between the head (that is, the power of the city) and hands (the working class of society, on which the status of the city depends). Also in the film, many Bible stories are the Tower of Babel, 7 sins, the messenger of the world.

I was impressed by the film with its scale. 1926, and in the movie incredible scenes with thousands of people and huge scenery, a variety of special effects and incredibly expressive acting. All this in the compartment creates a futuristic picture of the future in which people like cars, and the machine takes a higher place than the person himself.

In general, the film is actual and to this day, those topics that he touches on are far from exhausted, but cause interest with each generation.

9 out of 10

Metropolis 1927 - the standard for the evaluation of modern cinema

Masterpiece…

(but even this word can not fully convey the essence).

Only after watching "Metropolis" I began to realize how little modern cinema is in our time ...

While watching the film, I kept asking myself the question "how could this be filmed in 1927?" Much has been done, shown, played in this film almost 100 years ago remains an inaccessible level for so many of today's filmmakers. And this despite the fact that today everyone is available such technologies, computer technology, image processing software, which in 1927 did not even dream of ... But, nevertheless, they made this masterpiece ...

I recommend this movie for viewing by everyone.

For me, Metropolis has become the benchmark by which you can measure the level of any film. Perhaps it will become one for you.

For this I propose to conduct a small comparative analysis of the levels of development of civilization (technology, culture, ..) and the level of cinema in 1927 and 2010:

On the one hand: in 1927 and the film "Metropolis"

on the other hand: 2010 and modern cinematography in general (or any film).

I'm sure that such an analysis would be very useful to everyone who makes a movie ...

Rated 10 out of 10

Between the head and hands should be an intermediary.

Frankly, this is the first silent film that I looked at all and did not lose. After watching, my interest in silent cinema has increased very much, and as the latest Oscar film award shows, not only for me.

So, Metropolis - the film was shot in 1926, in Germany, the director of the tape Fritz Lang (which before the show I did not say anything). The film tells about the life of a fantastic city - Metropolis, which combines two worlds - the world of workers, which is located on the underground floors, and the world of brothers - the highest caste, aristocracy, which thrives on the surface. the workers, as it should be, work exhaustively, serving a huge number of machines that ensure the worthy life of the higher caste. But this can not go on forever ...

Metropolis is a film about social inequality, about love and religion. It is noteworthy that in the film, inequality is not denied in the absolute sense, rather it is said to what extent it can not reach. "There should be a mediator between the head and the hands - the heart," - no one says that everyone should be hands or should all be a head, the main thing is that the linking link was love and faith.

So, as this dumb, and even black and white cinema, you might think that there will not be enough bright scenes and dynamics ... an erroneous judgment. The dynamics in the film is more than enough, the controversial soundtrack to the film (someone like it, someone calls it disgusting, I liked :)) the actors' game is simply amazing, at first glance it is very difficult to perceive these hypertrophied emotions in the frame and jerky feigned moves, but on the other hand, how else to convey everything without words ... and besides, after 20-30 minutes of viewing, you do not pay attention to it, you remain completely engaged in the game. especially I want to mention the performer of the main female role Brigitte Helm. It is very difficult to play the role, where you need to realize the two extremes of the same thing, she managed it ...

An interesting fact about the budget of the film, the spent amount of $ 1.5 million at that time was a fortune and certainly could not return after the rental, although the film was frenzied.

Metropolis called his favorite film Adolf Hitler, well, in the movie, he clearly had a good taste.

10 of 10

The mediator between the head and hands should be the heart

Now this is my favorite movie quote

For a long time I wanted to get to the large father of "Elysium", "Matrix", "Islands", "12 monkeys", "Dark City", etc. And having reached the amazing truth that the standard of anti-utopia was removed from the first time and since far away, in this genre did not shoot anything better.

The idea is presented to the viewer with ingenious simplicity, directly to the forehead without intermediaries. The prerogative of the discoverer obliges to generalize the main elements of the genre, leaving followers to engage in near-earth navigation, searching for lost details and making them the center of the plot. The plot lines of the four heroes are intertwined in a voluminous construction in which the working class will play the most important role. In the absence of sound, the exaggerated manner of the game, the actors successfully bring the characters to the viewer. And time did not lock the director's vision, cardboard models and special effects smell of investor money and then movie-making.

Someone is born to dig the earth, and someone to rule. To each according to his abilities. "Metropolis" bears the undisguised truth that between the hands and the head should be the heart, so that the body worked for its own good, and anti-utopias remained the prerogative of comics, books, video games and movies.

10 of 10
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Original Matrix - Steeper than Blade Runner.

Version of Giorgio Moroder.

In 1927, the director Fritz Lang, based on the novel by his wife and co-author of the Thea von Harbow script, scaled a sci-fi movie that became cultic and had a significant impact on the development of film art in general.

In 1984, the Italian composer Giorgio Moroder, who settled in Hollywood for a long time, assembled a new restored version of Metropolis. He wrote new music for the film and drew such famous performers as Freddie Mercury, John Anderson, Pat Banatar and Bonnie Tyler to work on the music.

Before getting acquainted with the film, you are asking yourself - what version of the film to watch? Although in fact I'm cunning, I had no choice between Gottfried Hooppertz and the Queen band, but immediately stopped at the last one, on the version of Giorgio Moroder. Do not think of a prude and a Puritan, but the clip-rock'n'roll music is closer to me than the orchestral music. Well, I'm 40 years old, do you listen to the orchestras - give me Bonnie Tyler, yes Pat Banatar!)

And, it is worth noting that the tracks are not chosen anyhow, but very cohesively and consistently with respect to the video sequence of the tape. Here we see in one of the first scenes of the film the meeting of the main character with the girl Maria, that is, forgive, with the MOST BEAUTIFUL girl Maria and a crowd of little kids around her. At this point, the song "Here's my heart" begins to play Pat Benatar. It's just an amazing combination, I tell you. This is by no means two scenes of such a successful merging of the soundtrack with the video series. Throughout the film, more precisely the film in the version of Giorgio Moroder, we see such a successful combination of one with another.

Retell storyline is superfluous - you'll see everything yourself, and you just have to see it. I will just say that Metropolis Fritz Lang is a thriller, and a love story, and a drama about the conflict of human morality and the desire to create, and a fascinating anti-utopia.

One of those films that strike the imagination. Definitely look more than once and not once listen to the soundtrack to this movie.

10 of 10

The first film-catastrophe, the first apocalypse

I decided to write a review of Metropolis, which recently looked again.

Of course this is not the first fantastic film with special effects, but can rightfully be considered the first film a catastrophe in the modern sense. The scale of scenery, special effects, extras, scenes of wreck and flooding are simply amazing. The image of a robot woman, the first robot (and want to draw a parallel with the S-3RO from Star Wars) does not even cause a smile, so everything is detailed and believable, even today. Effectively transferred to the transfer of appearance robot. Another amazing video link. And you can talk about the city for a long time.

The idea itself, even if it is recognizable even to the end, smoothly lies in the screen time. Accurately dosed to convey the first step-frame of the film, take-off and lavish twists and turns.

The abduction of Mary caused me a lot of emotions and was literally chained to the screen. A modern thriller not everyone can boast of skillful forcing the atmosphere, dynamics and curtain (blackout) of the scene.

Scenes of dance and ... the girl sitting on the seven-headed dragon, one of the apogees of the film, is done masterfully.

Acting is convincing, and does not cause smiles and doubt, as it happens for a spoiled viewer with watching silent films. Everything is clear, even when no replicas are written.

Bridgette Helm, who played Maria and the Robot Girl, causes a lot of praise, and a storm of emotions. Her game is a close-up of completely different characters, captures the look, making her admire her talent.

The film with its semantic load to this day remains relevant. Despite his age, it is difficult for him to find analogues that managed to fit into all the plot twists, scenarios, loads and pauses. His trail is found in a number of other films, both recent and sunk in the air. The fact that the film is difficult to process, says the absence of a "Metropolis" remake. There was a piece of information that in 2010 there should be a modern "Metropolis" but .. a lull. Indeed, despite the impressive age, it is difficult to surpass, even knowing how to create new planets.

If you have not seen it, then look, because of the lack of exact analogs, developments, and skill, you will be surprised by this film. In extreme cases, it will be useful.

10 of 10

Irony of Fritz Lang

The film is very interesting to watch when you understand what time it was shot. The time when the first five-year plan was planned in the USSR, the time when Adolf Hitler published the second volume of "Mein Kapf". Well lived in Germany, cinematographers ... Inflation of the German brand gave impetus to the rapid rise of cinema in Germany. During this period, Fritz Lang took off almost all of his great films. He rose to such a level when he could be entrusted with a huge amount of money for a movie epic. Lang did not miss the chance and made a film that is a work of art for all time.

It's hard to describe your feelings after watching (you have to watch it on the big screen). But if you look at it objectively, then the plot is not thought out in my opinion. For example, what is the point of the Metropolitan head to deprive the slaves of his savior, a woman who gives people hope for the best? In any case, it's very stupid. And the mad scientist Rothwang does not mind. He needs revenge for unhappy love. Everything is clear here. The rest of the tests for young lovers were at least dangerous for life, but I do not want to worry about them ... Again, in terms of drama this film can not be considered. There is a stunning background - no, it's not even multi-million dollar scenery or special effects. This is the theme of the film itself, which is framed by an epigraph at the beginning and end of the film:

"There must be a heart between the head and the hands"

Think about this phrase ... What did the director want to say? It's an anti-utopia, guys. This can never be. The long history of mankind proves this. This is irony in its pure form. Theoretically it was beautiful, beautiful ... in practice, it turned into multi-million human victims. The film ends not with a hand, but with another catastrophe.

Fritz Lang is a Jew. He made a film that was yelling at the whole planet:

"Guys, look back! Have you seen? Now look what will happen to you! "

Yes, we must look, watch and look again! Read a lot and think with your head. And however, such people - units. This little changes.

That's why I love this movie.

9 out of 10

Metropolis - the city of the future

Metropolis of Fritz Lang is an indisputable masterpiece of world cinema, a cult ribbon that has become a symbol. But I like many want to forget about the cult and the symbol for a while, looking at what remains in the dry residue. Here and now, without reference to the great name and recognition. How relevant is this work now and is it outdated morally and technically? Yes, to argue with the fact that the technical means of that time were very limited, there is no sense - cardboard decorations, lack of sound, a slightly different manner of acting than now and much much more. But despite this all Metropolis even 80 years later looks fresh and relevant. And my answer to the question posed above is absolutely obvious - all the same this masterpiece will be relevant all the time that there will be a movie. Why? Because he was at the origins of that very movie. Of course, cinema as an art form was by that time not to say that it was new, many famous stars were already working there and famous, but while Charlie Chaplin, Bester Keaton and others exploited the circus genre of the last century, Fritz Lang made films that laid the foundation the same movie that we are all looking at now, and Metropolis is undoubtedly one of the most outstanding of his works.

In this film there is nothing "momentary", inspired by fashion, but there is a comprehension of what was happening in those years in the world - a wave of revolutions swept through Europe, industrialization, a surge of class hatred. In fact, Fritz Lang was one of those who linked cinema with literature, turning the entertainment genre into real art, which we can now enjoy all. On the other hand, in this film there is nothing faked, despite the cardboard decorations, for a moment there is no feeling of ersatz, substitution, masquerade. So, together with Lang, cinema appeared not only actual and literary, but also epic - no longer a circus, but a theater. So the influence of creativity of the great director and specifically of Metropolis is very difficult to overestimate ... and not only of Metropolis, the same "M: the city is looking for a murderer" - one of the very first films of a detective genre, and "Woman on the Moon" is one of the first in which is shown space travel, but this is of course a completely different story.

I'm struck to the core

The film was downloaded a long time, but time was not enough to see it. Today I decided to set aside two and a half hours for "filling the gap in the history of cinema". Heard about this movie stopitsot once and was sure that this is a very boring movie, but from the very first minute of the viewing I realized - there will be something grand.

The symphony orchestra impressed me very much. For the first time in my life, I shook my head in time with symphonic music (cultural shock). The fact that this silent movie I forgot already after about ten minutes after watching, the music so organically fit into the whole picture.

Actors honestly told me (not without exception, of course). The main character is not a beauty by today's standards, but she seemed very nice to me in the role of a kind Maria, and an evil robot. Massovka is impressive. Every time you see such a cluster of people in the frame (and sometimes they all try to express some feeling), you are thinking about the fact that today it is unrealistic to implement. More precisely, it is quite real, but no one will bother about this and just multiply the humans with computer graphics. Attention to detail in the film also made an impression on me. The picture of the city with its traffic from toy cars made me sit with my mouth open, I tried to make out at least some slight crap in this picture ... It did not work out

Yes, and the very theme of the film I was very touched, this expression I will remember for life. On the final stage, I was covered with goosebumps, I did not expect that such an old film could cause me so many emotions. This topic is still relevant today, yes I think and in a hundred years will also be

In general, this is exactly the masterpiece of cinema, along with King Kong, etc. I am very glad that I looked it up and I am sure that I will again review

10 of 10
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From grateful descendants ...

The mediator between the head and the hands should be the heart "- so begins the film.

Oppressed and oppressors. The magnificent and majestic city of the future, in which the elite of the society lives, ignorant cares, except for games and entertainment, exists only thanks to the relentless and exhausting work of the inhabitants of the lower quarters. It's not even work, but self-sacrifice, so that the upper city can live, the poor from the bottom, literally, must be absorbed in the machine, whose name is Moloch. Presumably - this is one of the names of the deity, who in ancient times was supposed to make human sacrifices. And now imagine - a black and white silent German film of 1927 - soon the Nazis will come to power in Germany and bring many victims do not understand what Moloch. The oppressive and gloomy atmosphere of waiting.

Is it mysticism? Or a great sense of time, thanks to which authors can look to the future? After all, even then, the Germans had a feeling of hatred and resentment for the humiliation of the First World War. Serpent egg from which hatred hatred.

In fact, everything can be much more prosaic, in the first half of the 20th century, the problem of social injustice was paramount. The question of unfair oppression of the working class at that time was raised by many - in Chaplin's films in the form of satire, in Fromm's books in the form of a neo-Freudian critique of capitalism. People built cars and were enslaved by the work of their own hands, became part of them. A person is alienated from the results of his own work. Escape from freedom and man for himself, the so-called books of Erich Fromm, and such thoughts were in the hands of people's thoughts at the time. As it must, often happens in history, as Tolstoy wrote about it, one target and one direction of movement captures, simultaneously, a large number of people. This trend of time appears in all forms of creativity as a leitmotif. The metropolis of Fritz Lang, shot on the novel by Thee von Harbou, goes the same way. Creators seem to turn to employers - be kind to their workers, be more humane, get to them - do not look at them as robots that are programmed to increase your well-being. The film is majestic, deliberately negligent to a small man - there are flashed robots, cars, huge distances, tall buildings, huge colossi. It was this disregard for the person, who was also a way to show the unsightly reality, and to impress the viewer, even to frighten, made such an indelible impression on Hitler. He called him one of his favorite films, because for him it was the embodiment of the great German genius - order, unquestioning obedience, strict hierarchy, scale of intent and lack of spirituality. Well, Moloch, of course. In this eerie god, Hitler probably saw himself and the very nature of things. A real work of art is like a mirror, everyone in it can contemplate himself.

Yes, this is a great German film. Which not only became a powerful response to the tide of time, but also loudly and threateningly, like a statue, embodied all the advantages and disadvantages of the German people and, in many respects, of all people.

Metropolis is an anxious prediction filled with Kafka's neurosis and fear, an inferiority complex that responds to great intentions and great scales. A look in yourself and in the future close up. A milestone for world cinema and a notch on the tree of mankind.

The mediator between the head and the hands should be the heart "- so the film ends.

10 of 10

Classics are timeless

In 1927, a German cinematic talent presented to the public his work - "Metropolis". I think his contemporaries should have been shocked by this film, although at the box office he failed. Probably, he was ahead of his time ...

Silent, black and white cinema, with a funny drama by the current standards, the theatrical replay and the hyperidentity of what is happening, in my time, it seems to me, had a huge impact on the unsophisticated viewer. In general, if you make a few condescending assumptions, this movie can be watched with enthusiasm today. I did it yesterday. And, I confess, I was fascinated by the magic of cinema. Each frame shows that they were done with the soul and for the sake of art (and not for profit). And no matter how primitive these frames looked today, if we keep in mind the correction for the age of the film, we are faced with a heartbreaking grandiose story in which there is a place of class disunity, the nature of the person inherent in being subjected to suggestion, the problem of fathers and children, the love of men for women, Biblical motifs and high technology that has overtaken the present day. Special effects in the film, given the technology of the beginning of the century, it is generally a separate titanic work. There were no computers! Everything either dorisovyvalos manually frame by frame, or carefully assembled from several films.

I do not know what the fantasy of its authors was based on when creating this film. But I know for sure that the fantasy of the authors of Terminator, Brazil, the 5th element, the Matrix and the whole huge heap of high-tech fiction was inspired (and copied something) by Metropolis. Here even the technology of Skype (video calls) is presented! And this is in 1927!

Separately, it is worth mentioning the huge number of people involved in the shot. Thousands of them create a strong dynamism on the screen and cause the epic of many scenes.

10 of 10

Film masterpiece.

Thank you Lumières!

It was the first futuristic film in the world cinema and in it absolutely everything that is shown to us in modern cinema as something innovative. In the film we are talking about the city of the future and in it you can meet an amazing number of coincidences. For example: a phone with a video call, a street of skyscrapers and advertising as two drops of water similar to the modern Wall Street, urban monorails, robot people. And this is the 27th year! Incredible greetings from the past! Lang almost guessed everything!

In general, after viewing it becomes clear that the ideas of modern cinema have not moved anywhere. How everything began in 1927 with a simple, ideological skeleton that there is a protagonist, he fights against evil, he has a pair of helpers, a beloved woman and needs to save the world ... And that's all since the 27th year. Nothing changed. There are all Spielbergs, Bessonov and other "geniuses" of fiction, catastrophes and fighters of the 21st century. But only "Metropolis" is not just a brightly shot, science-fiction film, it's also a whole philosophy, sometimes malicious, sharp. That only there is one phrase of subtitles: "We go to look as the world rolls to hell!", Spoken, by the way absolutely absolutely debutante of a cinema at that time-Brigitte Helm. She is great! Impossible is realistic, multifaceted, plastic and incredibly beautiful: porcelain, cast, with amazing, cosmic eyes. There are no such actresses right now.

I like everything in this film: sometimes touching naivety, subtle allegories, rhythm, understatement for the viewer to think, the beauty of every thought, scenery, mythology. This is an amazing movie! Here for such basically and it would be desirable to tell many thanks to Lumières.

10 of 10

A film for ages!

Since the very first films of all cinema, or rather even say the footage shot by the ancestors of the cinema, the Lumiere Brothers, the cinema begins its long and frantic path, which continues to this day. Most of the films of those distant years have laid a powerful foundation for films of any genre, many cinematic undertakings, and some of the slightly late paintings and are now very interesting and relevant, are the standards of such a movie that should be. The metropolis of the distinguished Fritz Lang is one of the few films that truly and to this day amazes the viewer both with the plot and the picture!

Undoubtedly, the strongest side, in my opinion, is the plot, which is based on the book of the same name. Briefly about the plot: The metropolis consists of the lower and upper cities, respectively, in the lower live workers, extracting sweat and blood, big money for their master and for the upper city in general, for another, supposedly real Metropolis. And of course there is an idea of ​​exploitation of the poor and defenseless, the idea of ​​slavery, which is as relevant in our day! There are many films on this subject, however, Metropolis is one of the first, the very first who raises this sick subject. And even if you take into account that the film was shot in just 5-7 years before Adolf Hitler came to power in Germany. Not for nothing, I think he was one of the Fiihrer's favorite films!

1927 year. This was not much not enough 83 years ago. Almost a century has passed since then, and the film simply amazes with its scenery, it was really hard work to create this! This machine is Moloch, this insane beast, even the frost on the skin runs at the sight of it, and again realizing when it was created! A separate plan for me is a kind of "videophone" (very impressive and striking)! In technical terms, the film also exceeds all expectations and assumptions; all this in no way accurately reflects the atmosphere of the whole film! Also take into account the fact that the film is mute, which allows actors to look much more natural and emotional, although the acting of the films of that time looks a little "strained" or something, but it's nothing compared to the fact that all the emotions and feelings are transmitted by this amazing music accompanying the whole picture!

In the end, I will say that Fritz Lang, one of the greatest directors of German cinema, turned out to be a very lively and disturbing work! He created simply an indescribable picture in which the plot makes you think about life, about people, about fate, about the most difficult, pressing problems! In the film, we draw a city of the future with its problems, this is a film-message to us living in this future, a message about how not to live! Masterpiece!

And remember: the intermediary between the mind and the hands should be the Heart !!!

Fritz Lang - Metropolis

January 10, 1927 in Berlin, the premiere of the film, which influenced the subsequent development of cinematography. January 10, 1927! I can imagine how this picture looked at that time, if even today it amazes with magnificent special effects, excellent editing, direction, operator and actors. Honestly, I watched this movie with the translation of the credits. I think I would have understood it all, since the silent movie is shot in such a way that it is clear without words. This is his magic! And yet I looked at this film with a translation to understand everything to the smallest detail.

Metropolis is a film with an excellent storyline. It captures the viewer from the very first minutes, more precisely from seconds. From the epigraph: "The mediator between the head and the hands should be the heart." It is this epigraph that is the basis of the whole film. He is also shown at the end of the film, the whole film is being held around him. This movie carries this epigraph. But the plot of this film, like himself, is multifaceted. Therefore, to say that this epigraph is a single meaning of this film, it will not be entirely correct. "Metropolis" is a film about two classes: a class of workers and an elite. "Metropolis" is a film about the relationship of these two classes. Although people speak the same language, they still can not understand each other. "Metropolis" is a film about what connects these classes: heart, soul. Head and arms, and between them is the heart. But apart from all this, Metropolis is a film about love. He is the son of the ruler of Metropolis, lives upstairs and has fun in the Eternal Gardens. She is from the dungeon, preaching to the workers about peace. She opens his eyes to him and he is already head and heart. As I have already written, this film is multifaceted, therefore it is not so easy to determine the genre of this film. It is fantastic. But not really. This is drama. And not only. Metropolis is an anti-utopia.

Fritz Lang. This name I heard not so long ago. At the same time, I heard about his film Metropolis. Since that moment I really wanted to see this movie and today I finally looked it up. I do not even know, maybe what I'm about to write is now trivial, but everything in this film is excellent. Look at the plot - the story is magnificent. Look at the direction - the direction is excellent. Look at the effects - they ... they ... I do not even know how to say, probably because I can not explain, although it may be possible, but I can not. The effects are simply gorgeous. Of course the modern viewer, having looked at this film, probably will not agree with me. What we just did not see. And space ships, and aliens, and flying people. In general, you yourself know. But all this is created with the help of computer effects. And all these magnificent models of spaceships made of plastic and cardboard are in the past. They are left in the past, but they look great now. The whole city. Imagine! Model of the whole city. How much effort was spent to create it. After each frame, rearrange the small cars, so that on the screen they traveled in a few seconds. And the model of the towers. And all the rest! In addition to the city, there are more effects in this film. After watching the movie, I read on the Internet how the effects were made to this film. I will not retell the reading, I will only write that it is excellent. The combination of actors and miniature models. The Schuftan process. In general, what can I say, the work of Fritz Lang is above all praise. Directing, as I mentioned before, is gorgeous. The style and atmosphere of the director are excellent for the excellent work of the operator. Metropolis is very clever. And not only special effects prove this. The shooting is a very strong side of this film. And the installation of all this is well fixed. For example, when dozens of eyes were shown, as if several frames had merged into one.

The actors also played perfectly. And there is nothing surprising here. At that time, the theater play of the actors and the play of the actors of the cinema was almost the same. In our time there are obvious differences. Theatrical performance of actors is more dramatic, although, of course, it all depends on what movie you watch. It's one thing to talk about playing actors in some American comedy, and it's another thing to talk about playing actors in the author's cinema. But still. Silent cinema is another. Almost everything depends on the actors. They should play in such a way that even without titles, it's clear what's what. And they do. The actors in this film performed their roles, again, perfectly. They play dramatically, but not tense. They perfectly convey feelings and emotions. During the viewing, you are concerned about the characters, you think what will happen to them. And this is very important. When actors are really actors, not ordinary scenery.

My acquaintance with silent cinema happened a long time ago, when I was about five or six. This acquaintance happened with some movie of the Great Charlie Chaplin. Then, about three years ago, I looked "Nosferatu, a symphony of horror." I remember that it was not easy to find it without the Internet. And it was from that movie that I fell in love with these old films of the 1920s-1930s. Then when the movie was an art. Now cinema, like real art, is not so common. And yet it occurs. Silent cinema has gone with the advent of sound. It's gone, but it's not dead. And remember it is also necessary.

Metropolis is a real movie. Classics for all time. A masterpiece of cinematography.

10 of 10

Who is walking right here?

The golden twenties (Goldene Zwanziger) - a short period of prosperity of the Weimar Republic. Including, and in an increasingly spinning flywheel of cinema. And, if you are not an average devourer of novelties, sooner or later wanderings in the back streets of torrents or specialized video stores will lead you into the black and white world of silent German cinema. Perhaps, attention will be drawn to the works of George Wilhelm Pabst, Karl Theodor Dreyer or Zlatan Dudov. But, most likely, it will be the famous Fritz Lang.

Various departments label the genius of such films by this German director of Jewish blood as "M Killer", "Tired Death", "Doctor Mabuse, Player". But the most famous was the dystopia Metropolis. Even the devilish corporal, the son of Alois Schicklgruber, was ready to close his eyes to Lang's fifth point, so that he corrected his talent in the same direction as later Leni Riefenstahl.

The urban world of Metropolis is divided by the level below which the machine meat (in the film they are called Hands), above are the Elect (Head). One - paradise bush and white light, the other - marching on the whistle. But soon the trumpet of the apocalypse will be blown, and the Mediator will appear who will change everything.

As almost every outstanding work of art, the film awaited an uneasy fate. If modern sessionists require a spectacular badaboom, then the viewer of the twenties waited from the cinema for circus reprises or dance numbers. And here two and a half hours of what will later be called a cyberpunk. Robots and orellshchina, a huge number of skyscrapers and obscure gadgets. Yes, not just for the sake of visual knockdown, but with biblical allusions. Dance, by the way, was also. The Babylonian harlot of steel.

As a result, the picture was repeatedly castrated, the titles were copied. The director was ruined by the UFA studio ruining the process. Copies and clones scattered all over the world, eventually deteriorating, aging and decrepit. But, as the mysterious person with multi-colored eyes asserted, "Manuscripts do not burn." And the work that formed the consciousness of many film lovers can now be seen in a decent restored state, which is what you need to use.

Although, you see, this requires a considerable effort. What will a company of people with different tastes and preferences choose, for example, to watch? Correctly, with an orientation to the most unpretentious opinion - some "Field of Miracles" with a mustachioed mustache in the next cap (checked repeatedly). And to the retro, especially to such a distant, there is a share of prejudice. As for bast shoes, irons on coals and goose feathers. The product, of course, is natural, but we will somehow use a synthetic substitute.

So in this case, the fears were not justified. Looked at one go. Everything was interesting: a mute game with theatrical exaggeration, combined perspective shooting, and the plot itself. For example, until the last he guessed, what kind of denouement would be chosen by the creators - revolutionary or dictatorial. The pioneer variant won - peace, friendship, zhuvachka. Maybe it's right, of the three evils chosen less.

Enchanted by the hypostases of Brigitta Helm - from the factory Madonna to the fatal cyborg. And what a makeup! Would be emo, would tempt all elbows from impotent envy. And in the mosaic Gustav Frohlich, Leo diCaprio of the Jack Dawson era was so funny. And, of course, the musical accompaniment. I do not know what it was, maybe Morodera, maybe an earlier version, but every clock was perfectly in tune with the technocratic picture.

Fyodor Dostoevsky through the prince Myshkin gave priority to beauty, Fritz Lang believed that a rough world will save the heart. The cinema is constantly looking for eternal questions. And for that he was loved in the twenties, they are loved now.

A movie masterpiece

I'm not too familiar with the silent movie - I saw a couple of films with Greta Garbo (still dumb) at the corner of my eye, and in the childhood I watched Charlie Chaplin. The more impressed I was with Metropolis.

I watched the restored version, which was recorded from a certain film show with a live accompaniment of the symphony orchestra. It lasts all 2,5 hours. It is quite difficult during this time to listen to the orchestra, by the end it was already wanting to turn off the sound, but what's clear is that the immersion in the Metropolis world was complete, did not see anything and did not hear, following the heroes.

Actors.

It's not an easy thing to do, it's a silent movie. All the experiences and emotions of the character must be able to reflect facial expressions and gestures. Therefore, now, in 2010, too often bulging eyes actors, if you want to show fear, amazement, attention, anger looks slightly ridiculous. Slightly strange and fast movements jerky. But from a moment's view these features no longer cause a nervous grin, but recede under the onslaught of virtuosic play by the performers of the main (and secondary) roles.

Brigitte Helm. At first it seemed - well, such an image, like Maria, is not difficult to play: an open look, spiritualized gestures. But when the robot appeared, it became clear that the actress was stunning. What a contrast! In the scene, when Maria robot first time with Johann Friedersen and he gives her a task, Bridgett's face stirs into a trembling - this is the thief, and the hidden threat, and insidiousness, and contempt for the world ... Everything is in one expression. And the preaching of the robot? This heat of vicious passions, boiling energy! Separately it is necessary to say about the dance of the Babylonian harlot ... This episode is striking in its ambiguity - which is to say, an exclusive dance, an individual plastic, but that everyone immediately go crazy with passions? ... Probably, in Metropolis at that time did not see such "chicks".

Gustav Frohlich. From the first frames, his hero does not cause very good feelings of some kind of infantilism. But when he decides to shelter Josaphat and replaces 11811 in his work with the machines, it becomes clear that Frader is still an integral and profound personality who is able to make decisions in union with both the heart and mind and carry them out. From that moment on, I felt respect for this character. And Gustav Frölich played all the impulses of Frederik very vividly, sincerely, for real! Perfectly revealed a positive, but not a sugary character.

Alfred Abel. This is my favorite among male characters. In his game there is no grotesque, which is present in other actors, and emotions are masterfully conveyed by an expression of face and mean gestures. Such a game and in the current cinema would have been highly appreciated by me. Johann Frederson - courageous, intellectually developed, confident in himself and his power type. The more helpless he looks in the scene when his hair turns gray ...

Fritz Rasp. He's Slim. Fritz, in my opinion, has extraordinary features. When appearing on the screen in the gait and look Thin, the hidden danger is clearly read. The scene where the character Fritz offers Josaphat cigars in Freder's apartment is tense, like a string, and the "play by the face" of Fritz at these moments is admirable.

And finally - Rudolf Klein-Rogge. Excellent transferred crazy, but, at the same time, the scientific approach of the character to reality, obsession with Hel, it's a pity that in the second half of the film the inventor was given little time.

That is, as you understand, almost ALL actors played perfectly well. Gorgeous scenes with extras, especially children - the child's fright was so natural that I even thought, did not they scare them when shooting specially.

Some episodes, once you see it, you will not forget - the panoramic views of the city, how the workers come from the shift, the pursuit of Maria in the catacombs, the dance of the Babylonian harlot, the phenomenon of death and the seven deadly sins in Freder's visions and much, much more.

Be sure to look! This is an unprecedented force of work of art. Many thoughts are born when he watches: the role of the leader in the crowd, the herd instincts, the desire to find the guilty in his troubles, the structure of the state, about love and nobility ...

My mark

9 out of 10

and then only because I could not review it regularly, because still the film is a bit heavy for perception. In general, in time and space - this is a masterpiece!

City of the future

Under the sunset of expressionism, the German current in the cinema of the early XX century, in 1927, Fritz Lang demonstrates his phantasmagoria, a vision of the future with emotional, deeply expressed features. The anti-dystopia film "Metropolis" gave impetus to the world cinema and forever changed its appearance, thus, the avant-garde once again confirmed the versatility of art on film and the unbridled breadth of thoughts, ideas and innovation.

Lang's picture is not just a utopia, but an anti-utopia with widely expressed oppressive features of totalitarianism. Negative characteristics of the absorption of the public by a powerful mechanism, insensitivity and remoteness from the desired idyll, which is dissolving in the minds of ordinary people with each passing hour more and more - all this leads to a loss of a realistic view of the peaceful, even slightly surreal in its equality existence.

Fantastic images that give a shade of totalitarianism are just a background, a surrealistic illusion, but the routine does not disappear anywhere, it will always take its place in this story. Reality seems simple to the grinding disgust from beneath the faded, unaided gaze. But either the hands rotate the eternal mechanism, the motor that divides everyone into classes and social classes, or whether these hands give orders with simple movements, and a greedy look tirelessly monitors the perpetual work.

Metropolis lives, it breathes, boils. It is a city of the future, divided into two parts. One part of this life lives and works underground, the other - rules and does not consider hours of rest and entertainment. Like fire and water, they are distant from each other. Some, dissolving in the idyll of bliss, do not notice the physical weariness of others, and there is no equality in matters of everyday life and peaceful existence. But with a rapid chaotic movement, one particle can fly beyond the edge of one and involuntarily fall outside the boundaries of an entirely different life. Catastrophe, the intersection of two minds, the clash of a historically developed mentality, a revolution in the mind of the individual - all this leads to an emotional explosion ...

Built, honed to an abominable splendor, a fantastic view of the city, convincingly and ominously frightening. It's like night New York, lit all its lights on the day of the festival, and the breadth of imagination prompts to build up huge buildings far to heaven as high as possible. Under the ground people, if they are part of the mechanism, routinely and monotonously, in time to the whole movement, carry out their work. They and the mechanisms are like a whole.

And among the monotony there is a place for civil strife, the tactical moves will awake in the mind, and even a robot created by a person can become the master of an innumerable number of workers. Throwing the bait with a tempting dance - and people turn into animals, real savages, driven by instincts with a clouded mind. A machine can control a person? Yes, if this machine is also controlled by a person. So we get an infinite chain, which, if it breaks, it will not lose a single component link. After all, this is a city in which life is seething, and let it look as if in a dream, in fact, it is the construction of any other city or society in it. But is this enough?

Perhaps not, so the director feeds the audience with their avant-garde, even slightly awkward frames, in which reflects a veiled, albeit not so obviously slippage context. Bounces to the Bible, numerous coincidences with history and a weak line between reality and unreality burden Metropolis with explicit appeals to address the primary sources. Remember, re-read, and maybe not repeat old mistakes, learn from the past and look only to the future. And do we want to live in such future, under the signboard "Metropolis"?

The director skillfully was able to collect all the details, all the messages of the public. Even with the help of a silent movie he managed to convey the cry of the soul, pain and despair. True, the pleasure is ghostly, but painfully close to the reality of the world, Lang was not cheap - and the picture was the most expensive in the era of silent movies. And now, after many years, the innovation of Metropolis is visible to the unaided eye, and the fantastic vision, begun with this picture, still can not reach its end point.

True, with his slightly pathetic ending, the director gives a direct answer to the question posed, and the oppressive state, accrued by every new frame of this picture, immediately dissipates, and there comes a pacification, picked up by a light breeze. Was it thus necessary to bring the thought to its climax? Maybe, but in any case, Metropolis will forever remain a cinematic masterpiece, a creation that gave art a new impetus in its further development.