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.