Metropolis

I first saw Metropolis in 2011, and a decade later I decided to rewatch one of the greatest films of the first half of the 20th century. The novel's Thea von Harbou exhibits visionary traits, and Fritz Lang's adaptation is no different. As one of the last films of German Expressionism, Metropolis is no longer as highly stylized as, for example, Nosferatu or The Cabinet of Dr. Caligari, but it still impresses with its monumental sets and unusual camera work. Story-wise, Metropolis manages to appeal even to today's viewers (despite the plethora of films about dystopian visions of the future), and thanks to the expressive acting (especially by Brigitte Helm and Rudolf Klein-Rogge), Lang's film is at times quite (unintentionally) funny. (26.08.2011)

Together with Kubrick's 2001: A Space Odyssey, this the most visually perfect and aesthetically-refined film I know. Fritz Lang was able to give his monstrous work the perfect appearance, and despite the aging technologies the result had not lost its magnetism and suggestiveness even a little bit - on the contrary, the special old veneer only intensified the functionalist precision and Gothic expansion of shapes. True, the presentation of the content has aged somewhat, but the "midpoint between the brain and the hands must be the heart" factor is extremely urgent and topical as a result. The excellent visual aspects strengthen the plasticity of the environment – on the one hand, the almost ritual environment of the industrialized heart of the city, on the other the modern and luxurious gloss. The drama of the conflict between the proletariat (the underground core of the city) and bourgeoisie (the cream of society on the surface, led by the unscrupulous Joh Fredersen) is spread out for the current viewer on a very extensive area, but the constant invention and image precision, which, with its composition and shape concern clearly references the supreme expressionism, appeals to the viewer's enjoyment and teases the cells that can only be stimulated by a real film delicacy. Metropolis is formally an absolutely perfect film, which contemporary fast-paced artists, who lack even a hint of art despite the hi-technologies, can only look upon enviously. It is also a film that has a clear and convincing message. Both of these components form an ageless gem, which I like more and more after each viewing, and to which I feel an ever deeper respect. (03.04.2006)

A magnificent and at the same time melancholic sci-fi movie that would stand out even today, both in terms of its subject matter and its execution. It is gripping at times, sometimes humorously eccentric, but undoubtedly functions as one of the fundamental works of the cinema. Still, you cannot help but be disappointed with the two-hour version. It is a bit sad to know that the original director's cut was much more generous. (03.04.2006)

An incredibly megalomaniacal spectacle for its time, which even after all these years has lost almost nothing of its impressiveness. The scenes with hundreds of extras are absolutely chilling, and the effects, though nowadays understandably outdated, are very believable and monumental. Moreover, even the story is interesting enough and, although the shortened version lasts a full two hours, it doesn't bore for a moment, which is quite rare in a silent film that doesn't use grotesque humour (of course, in today's terms). In short, a legend and cornerstone of modern science fiction and a complete visual orgasm for lovers of expressionism. (12.08.2013)

Fritz Lang realized the power of film, which lies not only in sound and dialogue. Many contemporary films are based on this. Given that Lang started filming at a time when sound films didn't yet exist, he understood this fact very well. The main aspect that always captivates in a film is the imagery. And so he created a visually stunning spectacle that can take your breath away even after nearly 90 years. I had been planning to watch this film for over ten years. Then, the time finally came. And I realized that even at the beginning of film history, they knew how important imagery was, but they also knew that there needed to be a story to tell. And possibly also to criticize. An incredible vision of the future that serves as a powerful critique of society and the individual. Today's viewers might not fully appreciate the almost expressionistic performances of the actors, which are highly theatrical, but Metropolis should be a film that people watch just to understand what cinematic art is truly about. (10.01.2014)