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Buy Metropolis 1927 Movie Online 1080p, 720p, BRrip and MOV
Drama, Thriller, Action, Adventure, Fantasy, Sci-Fi, Romance
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Fritz Lang
Alfred Abel as Joh Fredersen
Gustav Fröhlich as Kenichi
Rudolf Klein-Rogge as Duke Red
Fritz Rasp as The Thin Man
Theodor Loos as Josaphat
Heinrich George as Grot, the guardian of the Heart Machine
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 who quickly disappear. Trying to follow her, he, oblivious to such, is horrified to find an underground world of workers, apparently who run the machinery which keeps the above ground Utopian world functioning. One of the few people above ground who knows about the world below is Freder's father, Joh Fredersen, who is the founder and master of Metropolis. Freder learns that the woman is Maria, who espouses the need to join the "hands" - the workers - to the "head" - those in power above - by a mediator or the "heart". Freder wants to help the plight of the workers in the want for a better life. But when Joh learns of what Maria is espousing and that Freder is joining their cause...
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You must watch this movie!
This is unbelievable!

I was sitting on the sofa watching the movie in an apartment in the middle of a city with high towers that host the rich, poor people around the city living in old and outdated places and bridges an tunnels that connect them. And the machines are everywhere. machines run by the hands of the poor to fulfill the mind of the rich. And I was watching a movie from 1927 that pictures my city exactly as it is now! this is unbelievable!

And The heart that is the required element that connects the hands into the minds in its right way in the movie, that was the only missing part here! I was looking for the heart in my city and found none. Maybe it has been faked nowadays?! I was thinking of the media or religion and tried to compare them with the crosses in the Maria's place or the inventor's wicked acts. That was what I found, However you may find something else.

The Visual Effect at the other hand, It was a masterfully accurate prediction. for a product from 1927, that was too much to be believed. A perfect Sci-fi for the time being and a powerful reminder of our lost hearts for our time.
Fantastic, and Epic Silent Film; Groundbreaking
I have never been a fan of silent films. But when I heard about the 2010 Kino restoration and read the plot, I became intrigued. This is one the best films I have ever seen, in the silent or any film genre. It is groundbreaking, and is the precursor to Star Wars, Blade Runner, 2001, The Fifth Element, etc. The world's only epic silent film. The story is really good- the uber-rich planners and the dirt-poor workers and the city leader's son who seeks to end the tyranny. The film is gripping, and even moving. The film's message resonates with viewers of all ages, and it's prophetic view of the potential of unchecked future societies is one we must all be aware of. Especially when you consider that Adolf Hitler used this film as inspiration for his horrific attempt at a global dictatorship and racial sterilization. The effects are ahead of their time. No one got more out of what was available to him than Lang in this film. I can not imagine how anyone enjoyed this film in any of it's previous versions. It is a timeless classic that will continue to be relevant for decades to come. Any future remake will be spectacular visually, but it will look typical for our time. Simply magnificent.
Metropolis, Greatest Sci-Fi
Metropolis was a movie in the silent era, also in the era of German expressionism where during the period of recovery following World War I, the German film industry was booming. However, because of the hard economic times, filmmakers found it difficult to create movies that could compare with the lush, extravagant features coming from Hollywood. So keep in mind while viewing this film that it was placed in the German expressionism period. In Metropolis it is placed in a futuristic city, in this futuristic city many people put in hard working hours to keep the machines working, so that there city doesn't fall apart or cause mayhem. The story takes place following the son of John Frederson who is the master of Metropolis, the son wants to find a woman he met and express his love to her, but his father will not allow him. Throughout this movie, the son switches place with a worker and endures the hard working conditions that a lot of the employees can't even handle. Later in Metropolis, you find out that the evil doctor has created a robot that can transform into the sons love, and this robot pretends to be the woman whom everyone looks up to. Towards the end of the movie the robot causes a riot by shutting down the machines in order to stop the factory from working, once the citizens succeed little did they know that by doing so the kids they left at home would be in grave danger of being flooded out. Luckily the true lady and John's son save all the children and the citizens get the robot and destroy her. This film is an excellent sci-fi putting in many never before seen special effects, and even today watching this makes you feel like you are a part of that futuristic life.
Extraorindary film, but with a heavy Marxist message
Has slavery truly been abolished? Men and women go to work every day in the world. Some never return. Many work long hours, some even twenty-four hours straight. Many of these jobs are grueling, dangerous and people even die while at work due to overexertion, accidents or negligence. For as hard as these people work many are paid minimum wage; some even less than that. With all of this mind, I believe one can soundly argue that slavery does still exist.

I feel the 1927 film Metropolis conveys this. In my opinion, this film is an early political vehicle to persuade its audience to embrace Marxism. I say this because it shows the workers (or proletariat) being exploited, basically worked to death, by the rich (or capitalist bourgeoisie).

I also think the Maria character is symbolic of the Christian church. Marx described organized religion as "the opiate of the masses." I feel Maria is supposed to be this opiate because: for one, her name is Maria (or Mary) like the mother of Jesus; two, she wears white and is beautiful similar to man's concept of an angel; and three she speaks of mediator (or messiah) who will come and deliver the workers from their plight. This fits with Marx again for he believed religion was used to keep the proletariat subjugated, extolling virtues such as submitting to authority, pay taxes, turn the other cheek, be happy that you are a slave, you will be rich in heaven. This is what Maria said, be patient.

I don't feel the film made it completely clear as to why the rich man wanted to use violence against the workers. I wasn't sure if this was to set an example that if they ever tried to rise up and overthrow the powers that be, they would be swiftly punished and perhaps even killed. This seemed a bit strange to me because if all of the workers were killed, who would do the work? I feel this film probably did reach many of its viewers because many probably have similar exploitative jobs. People probably do feel challenged when seeing something like this. However, I feel the problem with this film (as with most other political movies) is that they bring up a problem, complain about it, but propose no practical solution or policy alternative. At the end of the film the "mediator" or "heart" is uniting the rich man with the worker, or uniting the "brains" with the "hands." Perhaps Fritz Lang then felt that the audience would be inspired to launch myriad political reforms. I honestly don't know.

I honestly feel, for it's time, this was an extraordinary film. I feel the politics of it were expressed explicitly, implicitly, and creatively. And most importantly, this film was very entertaining. The actors were excellent and the directing was phenomenal. I do think the whole purpose of the robot/agent provocateur should have been developed more. I also didn't understand if the scientist was somehow supposed to also represent the church since his robe looked much like that worn by a monk.
How Do You Solve A Problem Like Maria?
Francis Ford Coppola once said that 'Apocalypse Now' wasn't just about Vietnam, is was Vietnam. In a similar way, 'Metropolis' isn't just about the Twentieth Century, it is the Twentieth Century. Almost every image in it reflects or, more often, predicts the realities of life in the West over the past hundred years in a way that is truly uncanny.

From small details - the traffic jams and blackouts that plague city dwellers - to major historical events - the climactic flood predicts every industrial disaster that has destroyed the lives of thousands of workers, from Chernobyl to the Bhopal disaster, whilst Fredersen's vision of workers being fed to Moloch can't help but bring to mind the holocaust - 'Metropolis' feels prescient in any number of ways. In the image of the Manhattan skyline, Lang really did find the perfect symbol of the coming century - progressive, new, faceless, oppressive.

This is far from the simple Marxist fable it is often taken for - although the Socialist message can hardly be ignored. It's also a Christian parable (Maria, flanked by crosses, is counterbalanced by the Machine, brought to life under a pentagram) informed by the book of Revelation; a retelling of the Orpheus myth, with Freder as Orpheus and Maria as Eurydice, lost in the underworld; and a Kafkaesque nightmare of depersonalisation (although the Gothic, expressionistic production design is a long way from Kafka's more sterile style).

It's also, lest we forget, a silly adventure-melodrama, with a mad scientist, an evil twin, a bad father with a noble son and an impossibly virtuous, idealised heroine. In many ways, it anticipates 'Star Wars' in dressing up mythic standards with Science Fiction tropes - with Fredersen as the misguided King, Freder as the handsome Prince, Maria the good-hearted peasant's daughter, Rotwang as a scheming sorcerer and the Machine as the wicked witch, appropriately burnt at the stake by the 'villagers'.

The Machine-'Man' (a confusing name for a construction so obviously feminine) is the single most indelible image of the film; the scene in which Rotwang brings her to life for the first time is a real moment of magic and awe, untarnished by eighty subsequent years of cinematic showmanship. Even better is the scene in which she becomes a duplicate of Maria - such an obvious influence on James Whale's 'Frankenstein' that it's hard not to shout out 'It's alive!'. The optical effects are years ahead of their time, certainly the best of their kind until the sixties (at least). It also marks the beginning of Brigitte Helm's truly extraordinary turn as the false Maria.

This is only the third silent film I've seen (after 'Nosferatu' and 'The Cabinet of Dr Caligari'), and it's taken me a while to acclimatise to the acting style, which can seem close to parody. What it really reminds me of, however, is modern dance, which similarly seeks to communicate with the audience visually, rather than verbally. 'Metropolis' encourages this comparison, with the highly choreographed movements of the workers operating the machinery. Bearing this in mind, Helm is hugely impressive in multiple roles. Maria could be a rather dull and virtuous heroine (she enters the film surrounded by poor children in rags) but Helm invests her with enormous energy and expressiveness. It helps that the script allows her to take an unusually proactive role for a female character, organising workers' meetings and racing to the rescue of the endangered children. However, it is her performance as bad Maria, vamping up a storm, that lingers in the memory - the twitching, jerking movements of her head and body, the Anne Robinson style half-wink that changes the shape of her face, that malicious little grin that makes it hard not to root for her mischief. The entirely weird 'erotic dance' that she performs isn't technically very good (or erotic), but it is utterly unforgettable. Subtextually, she's the Whore of Babylon.

The other performances are mainly very good, particularly Alfred Abel as Fredersen, proving that it is possible to underplay in a silent film. Only Rudolf Klein-Rogge hits any wrong notes - difficult as it undoubtedly must be to play a mad scientist in a silent film with subtlety, some of his more unrestrained gesticulations leave you worried about the safety of the other actors.

Ultimately though, it all inevitably comes back to the imagery. Lang's film remains unmatched even today. Pick a scene, any scene - the synchronised, shuffling crowds at the shift change; our first sighting of the Metropolis, all biplanes, skyscrapers and suspended motorways; the vision of Moloch; the Machine-Man awakening; Maria, pursued along a pitch-black tunnel by a beam of light; the statue of Death coming to life in the Cathedral; disembodied eyes, entranced by the twitching false Maria; the crowds swarming up the steps in the 'Tower of Babel' section; the lifts crashing down, one by one; desperate children crowding around Maria as the flood-waters close in; and, most of all, false Maria, laughing as she burns on her pyre, then transforming back to her metal visage. No film, before or since, matches this for spectacle. And if, in order to appreciate it, you have to swallow a little treacle about the heart being the mediator between head and hands... well, trust me, it's worth it.
Father of sci-fi!
This film was so advanced for its times that cinematography of Germany could of went a different way if it had a chance to develop in this way. Unfortunately Nazi period came and German cinematography lost its grip never to return to the levels which Hollywood later developed.

It is so unfortunate that world events prevent film to develop in certain way, but that happens all the time. Politics influence film to the level that the whole cinematography takes a different turn.

If you want to see which film was a blueprint for Star Wars and all later sci fi movies then you have to watch this film and try to understand it.

Fantastic and glorious! How German films would of looked like if there were no Nazis!
Metropolis:The Reconstructed and Restored Cut.
Ever since I've decided to become introduced to silent cinema,with Alfred Hitchcock's outline- setting film The Manxman and John Ford's industrial revaluation western The Iron Horse,the name Fritz Lang has had an almost magnetic grip of being at the very top of my list,of directors whose work I have been eagerly wanting to view.When I heard a few years ago,about a "holy grail" being struck for film history,with a worn out copy of Langs silent epic Metropolis being pulled out of oblivion,and leading to the huge discovery of twenty five minutes of missing scenes/moments being found in the print.After reading that the film was going to be kept safely in a preservation society,due to the understandably fragile nature of the film,my expectations of this cut of the film coming out on home video gradually disappeared.Years later,I decided to search on Amazon UK to see what titles had been realised from The Masters Of Cinema DVD company. (the UK's version of Criterion) To my amazement,right at the very top of the page,was a very sophisticated looking DVD of the reconstructed/restored edition of Metropolis!.With having just started to discover the world of silent cinema,and looking at one of the most tempting DVDs which I have seen in years,I felt that it was the perfect time for me to see the full creation of Fritz Lang's futuristic city.

The plot: Being the son of arguably the biggest titan/philanthropist of a very advance industrial city called Metropolis,Freder has lived a life of complete bliss,where anything he has desired to achieve,has been reached to a level of success, that most of the residents of the city will never reach.Whilst out walking one day,Freder catches a quick glimpse of a girl who he instantly becomes obsessed with seeing again.As Freder is attempting to build the courage to go up to the girl,the girl is suddenly griped by security guards,who drag her down to the second level of Metropolis, where the workers who keep this huge city alive are kept,whilst the rich people in Metropolis live in mansions/villas on the "Top" level.

Not being deterred one bit,Freder decides to secretly travel to the second level for the first time in his life.Getting deeper and deeper into the second level,Freder starts to become extremely sicken at the level of depravity and hopelessness that the lives of the workers have become engulfed in,with some of them even being thrown into a machine to die,just to "help" keep the cites electricity going. Horrififed by his discovery's,,Freder goes to tell his father Jon about what he has seen in the workers section of the city.To his complete surprise Jon dismisses everything that his son has told him,due to him feeling that the city must stay "alive" in anyway possible.Fearing that Freder might attempt to help an uprising begin,and finding out that some workers have gotten hold of secret documents which show the inside stricter to Metropolis's power supply,Jon decides to hire a spy called The Thin man to keep an eye on his son and the workers.Following him,The Thin man gets hold of the inventor of Metropolis:C.A Wotwang to guide him around the city.With there eyes all on him,Freder is eventually found to be attending a secret meeting,where him and a huge number of workers are getting told about a new philosophy from a woman called Maria (who Freder has been crazy about,since catching a quick glimpse of her on the top level of Metropolis)Attempting to accept for the first time in his life that a fall from power might be upon them,Jon and C.A. take the most drastic measures possible to destroy the bubbling uprising,by inventing a robot.Quickly getting hold of Maria,C.A. transfers her appearance to the robot (who he will be controlling).Having succeeded in the transfer of Maria's appearance,C.A. and Jon begin to pray that their fake Maria will stop the up rising dead in its tracks,although none of them have any idea about how much (the real) Maria's philosophy is affecting the workers,who are starting to build up into something that none of them may be able to topple...

View on the film: The first people who deserve a huge round of applause are The Master Of Cinema makers,who have created a obviously lovingly made DVD/Blu- Ray.Although the "new" 25 minutes of extra footage does contain a good amount of grain, (which is understandable,due to the reels of film being left to gather dust) the footage which has been used in previous editions of the film,has now been given a mesmerising remastering,with the quality of the picture being one that could beat a huge number of films made today!.For the adaptation of her own novel,screenwriter Thea Von Harbou, (who Lang would later divorce,shortly after she had become a member of the Nazi's)interestingly shows that during the workers revolt against the "higher-ups",they all struggle to become distinct individuals.With the first part of the film, showing the workers being used as puppets to keep the city alive,who are also hidden away as an embarrassing,necessary "evil" for the higher-ups,to the second half of the film,where the workers turn into a mass tidal-wave,whose destructive nature,leads them to even (temporally) forgetting about their children!.Along with the brilliantly tense screenplay of his then- wife,Fritz Lang delivers the film with masterful directing.For the two levels of Metropolis Lang creates two extremely different "worlds",With the workers level having a menacing foggy Noirish look,which helps to give a sense that anyone could jump out and attack you,to the top level,which is filled with mind-blowing technology,and packed with stunning housing.For the excellent characters of The Thin Man and C.A. Wotwang,Lang gives the film an amazing,creepy Gothic feel,with The Thin Man looking like Dracular working undercover as a spy!.Looking at the structure of the film,Lang seems to have created two distinct parts,which combined to make one unforgettable whole,due to Lang delivering an astonishing film,which mixes gripping Noirish moments,and still-stunningly executed special effects.
A classic sci-fi story showing a Future city of great class-division, Metropolis, and the attempts to bring together and divide further the division
This film is delightful. Fritz Lang may have disliked this, possibly due to Nazi love of the film, but in the present day it truly is one of the greatest and most influential films ever made. The film has one of the most famous robots in all sci-fi, who has become one of the most famous images of the film. Much of the film may have been lost and there have been problems with restoration, but even though I saw the film years ago when much was still missing I still loved it. The ideas of class division may still be relevant in 2026, there can still be great inequality even in the most powerful nations and there are attempts to bring them together. If you think the film is a cliché, remember this established many of the clichés, such as the mad scientist with wild hair and the robot hand. There is basis in H.G Wells and older works, but the way this film is brought together makes it a still enjoyable work out of its own century.
What a film!
I have just recently looked at a pristine DVD remastered version of Metropolis from F. Lang. Without doubt, Mr Lang is one of the greatest directors ever. But also, what a team he had: what entrepreneurship, what wizardry and what imagination. However the plot may be a little simple, the way the film is filmed, directed, acted, edited is splendid. Furthermore, I thought the film music one of the best "classical" film music I have ever listened to: richness of themes, various leitmotives and a sense of drama that is exhilarating. Finaly, this film is still so potent in it's modernity. Just look how masses can be driven to their one end - even forgetting their children! Just look our the spy is everywhere: big brother is watching. Just look how the few rule the mass. Just look how religion can be so strong and powerful. And is man really man or machine? And it's not hollow or vain to believe that love can transcend anything as the mediator. I just loved it and recommend it to anyone, especially those who think that cinema is just SFX or Computer Programms. Refreshingly modern! Gave it 10!
Great Work

Metropolis is one of the most exciting and exceptional works of art that humankind has produced. This epic science fiction film is one of Germany's famous silent movies created by Fritz Lang and liberated in 1927, the period between the two World Wars.

This movie represents the expressionist cinema and shows us the repression of human needs by the machine age. Lang's creation of a self-destructive society is a protest against the machine age. Metropolis is one of the most magnificent cities of 2026, is kept 'alive' by the unceasing work of the underground people who live in slavery and is enjoyed by wealthy and educated people.

The Austrian director of the movie, Fritz Lang, presents the story of a master, John Federsen, who sees people as machines working constantly to maintain the luxury and technology of his metropolis. On the other side, his son Freder falls in love with one of the underground workers who is a spiritual leader for the slaves. The son recognizes the unsentimental heart of his father and starts a revolution. The city gets flooded and Maria (Freder's love) regains the workers' trust after a robot had stolen her identity, she finds her loved one after saving the city's children, and the workers shake hands with the master.

Expressionism tries to simplify the world and to understand it emotionally, in a subjective way. It is very important to understand this definition of this dynamic, violent and distorted movement in order to understand that Lang tried to externalize his own internal vision of the world through simple expressions.

The name 'metropolis' comes from the Greeks and means mother-city. It has this significance because a metropolis is the biggest form of a technologically and economically developed city. Nevertheless, referring to the movie name, this film can be considered as the mother city of all cinematic clichés.

In this story, there are two main characters, Maria and Freder. These two characters are also the heroes of the story because they are the ones who rescue the population from being drowned in the flood. John Federson is a person full of empowering feelings who only thinks of himself and of his city, forgetting about the ones who work for him. All the fantasies that he has come true through the power of his workers but he never thinks about the danger they are in while working for him. This man wants so much power that he is almost hypnotized by it; he is obsessed and possessed by the power of inventions and creations.On the other hand, Maria is just a symbol of munificence, her soul is pure and she is seen like an angel who brings peace to the world. Maria convoys the people in a church settling area. She is shown as sanctity, a holy person that is surrounded by the light of the candles. She is positioned higher than the workers who carefully listen to her as she speaks about peace, unity and their salvation by a mediator that will soon come. Her eyes inspire confidence and kindness as she kisses Freder in the church scene. In general, all she does is for the good of humanity. One thing that she repeats in the movie is 'Between the head and hands there must be a heart. ' This means that she realizes the bad things that the head (John Frederson) does and the good things that the hands (workers) do. But she knows that these workers should not be treated poorly or like robots and that, she can be the heart, which can persuade the head and the hands to cooperate to come to common interests. Maria, as her name suggests is also a biblical motif. She explains to the workers the story of the Tower of Babel. The workers in the story destroy this tower, which parallels how the movie will end, with the destruction of the machines by the workforce. Maria is still the representation of Jesus mother because she is trying to save the lives of the underground children. She would sacrifice herself and, alike Mother Mary, she has a strong faith in the creator of the world.

All the scenes of this film are perfectly created at the eye level so that anyone is able to view the action. However, there is also a bird's eye view at the beginning of the movie as the panorama of the city is shown from high above the ground. This view was created to give us an impression of how widely extended and huge Metropolis is. In addition, the focus of the dramatic camera angles with bold shadows is on the disproportioned landscape as well as on the right-angled buildings. There are moments in which the camera focuses on fast movement scenes like the dancing of the robot in the nightclub and scenes where it focuses on slow movement like in the beginning of the film where the 'slaves' are shown going into the working area at a certain pace and aligned as robots. When more people are involved in a scene, like the one in which all the children are surrounding Maria as she rings the danger bell, the angles are vertical, triangular, but when only one person is focused, there is a close-up to allow us to read that character's expressions and feelings. A good example would be the close-ups on the master Fredersons' eyes as he asks his secretary why his son was allowed to go underground and as well after that scene when he is thinking in order to suggest this dictator's meditation and frustration. Another important aspect of the camera and of Expressionism that I have remarked was the scene in which the mad scientist tries to run away from Freder and kidnaps Maria. He is walking up on the roof of a sharp-angled building holding Maria under his arm as if nothing would happen. The same scene was notable in Robert Wiene's film The Cabinet of Dr. Caligari as Cesare walks up on the roof with the kidnapped fiancé and the city crowd follows him.

Time also is significant in the film because the clock keeps showing up in the most important scenes. Time is evident in Fredersons' office as his son challenges him to have mercy for the people as well as he is talking to his secretary. Still only, a small portion of the clock is shown in these shots and it means the time in which the master can think what decisions to take. On the other hand, a gigantic clock is shown as Freder finds an exhausted worker trying to turn a wall-clock. Freder understands the struggle of this man and replaces him. There is where he finds out that at 2 pm Maria will have a meeting.

But all that we have seen in this movie is not only made to show us the great importance of this silent SF film that can keep the watcher alive by its impressive music and can inspire contemporary movies like Matrix , but for its great historical importance. Fritz Lang expressed a social life in this movie as well as a political one. After WWI, when Germany had lost a war, people's lives were a disaster. Everyone was disoriented and could not keep up with the tragedy that was going on, and maybe there were some influences of the great anti-Semitism that was supposed to follow. But Germany was a great disaster as well and there was nothing it could have done to prevent it because many troubles kept adding up over the years and this country had to be defeated morally and politically as well as economically. Even if Germany's wish of reconstruction was as utopic as Fredersen's wish of a technological city, the postwar inflation had a big contribution on cinemas development.
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