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Buy Metropolis 1927 Movie Online 1080p, 720p, BRrip and MOV
Year:
1927
Country:
Germany
Genre:
Drama, Thriller, Action, Adventure, Fantasy, Sci-Fi, Romance
IMDB rating:
8.3
Director:
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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Reviews
A movie with awful pacing and muddled philosophical messages
I really hate it when I don't enjoy a classic film. I really want to enjoy it but I just can't. I want to understand some people's love for it, but I just can't. Metropolis falls under this category. An unbearably slow film, (I watched the restoration which is over 2 hours long…that may have been a bad idea) that starts off with interesting ideas but then seems to not really do much with them. It is the year 2026, the wealthy rule the city of Metropolis, while the lower-class work for hours on end underground in awful conditions. The Master of Metropolis is Joh Fredersen (Alfred Abel) and his son is Freder (Gustav Frohlich), who spends his days with other rich people in a place called the pleasure garden where he truly does nothing at all. A woman named Maria (Brigitte Helm) brings a group of working children up for a visit in pleasure garden and Freder is quickly enamored by Maria. Freder decides to explore the underground part of the city only to be shocked as an explosion goes off and kills multiple workers.

He reports this to his father who is disappointed his son was the first to report it over his assistant, Josepha (Theodor Loos), and his assistant is quickly fired. This does an immediate job of showing the coldness of Joh but they never do much else with his character. In fact, very little of the characters are developed in anyway. Most of them are completely uninteresting and the setting itself is compelling at first but quickly loses anything interesting halfway through the film as the film moves at a snail pace. Anyways, the main aspect of the plot here is that the workers are led by Maria to stop this feud between the rich and the poor with nonviolence and the eventual arrival of a mediator to make it happen.

My real issue is that the film starts with such a great idea and had potential to become something like 1984 (I'm aware it came out afterwords (and that it's a novel), but still, just an example) but it instead becomes filled with strange religious allusions and becomes a witch hunt essentially by the end. They never really do any decent social commentary at all. If any at all. This wouldn't matter if the film was actually entertaining, but it only is in spurts and then quickly becomes a repetitive bore.

I do think the special effects were impressive and this film is obviously important for being the first full length science fiction film…well, ever. That doesn't mean it holds up because it doesn't. In fact, it'd be hard for me to believe the film was entertaining in 1927. I still wonder if I had watched the shorter version of the film how much more I would've enjoyed the film. It certainly would've have been paced better considering so much of this film is unbelievably uninteresting. But, I don't think that changes the fact that this movie doesn't really do anything. It isn't entertaining. It doesn't really have a message. What is this movie? I guess, good special effects for 1927? Whatever. I'm glad I gave this classic a chance, but I highly doubt I'll revisit it anytime soon.
2013-09-10
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.
2008-05-22
"Do you think that losing a hand is too high a price to pay for re-creating Hel?!"
Peerless silent sci-fi masterpiece from Fritz Lang. My favorite film of his and probably my favorite silent film overall. A masterfully crafted epic with striking visuals that will blow your mind, especially given that this was released in 1927. The special effects and sets are remarkable and unlike anything else seen at the time. The style has been copied many times down through the decades. It's still being copied today. There are maybe a handful of films that have been as stylistically influential as Metropolis. The story is intriguing and thought-provoking, although it may not be the cup of tea for sensitive political types. Hopefully even those people will be able to appreciate the remarkable technical and artistic achievements of this film. A lot of people will balk at watching this because it's a silent movie. Well they are missing out on something truly special. Epic, classic, and groundbreaking are words that are often overused with many movies but not this one. This is a true work of art that deserves all the praise it gets.
2014-09-19
Speaks Volumes.
Beautiful, thoughtful, artful, a rare experience... These are just some of the words to describe Fritz Lang's classic of the silent era... It's deals with so much, freedom, equilibrium, science and cultural growth... So much that is relevant to today. It's one of the greatest gestures of cinema of all time; the vision of the future of Metropolis is a vision of now, (these are all things Spielberg was striving for in A.I. Artificial Intelligence (2001))... But Lang does it so much better, there's no forced sentimental message in this film, this is poetic picture, a film that will always get better with age... a classic that more people need to experience.
2001-08-20
Bursting at the seams.
'Metropolis' is absolutely one of the greatest films ever made. Fritz Lang's vision of an apocalyptic future, is one of the best examples of cinematic art in existence. Time has done nothing to reduce the film's impact. It is probably the most electrifying film to date.

The story is set in 2026, in a time where society has split into two classes. The workers, who simply exist below ground level, keeping the city functioning, and the rulers of the city and the upper-class citizens who live in luxury above. The ruler's son, Freder, while indulging at the 'Club of the Sons', is curious when a woman from down below visits, surrounded by a group of young boys. It is at this moment that Freder is moved to visit the worker's environment. He tells his father of the distress that he finds and eventually becomes part of a rebellion that will finally unite both classes.

What Fritz Lang created in 1926 is truly incredible. It is mind-boggling at how modern it still is. And as far as art is concerned, this is a film that is bursting at the seams. It is however, ridiculous that the film was labelled as a flop on its release. It is even more outrageous that a good chunk of footage from the original print of the film is now irretrievably lost because the film was re-edited. Although it has been restored as much as possible, it is such a shame that it is incomplete.

'Metropolis' is a film that has made more sense and has become more understood as time has passed. It is now greatly praised and has rightly been given the honour as the greatest German film from the silent era.
2007-06-26
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.
2006-05-19
The father of sci-fi cinema.
Silent movies are not for everyone. Neither are subtitles. Those brave enough to view a movie with no sound and words that are far and few between should definitely enjoy this silent masterpiece. One of the biggest productions of its time, Metropolis still holds its own when set design and special effects are compared. But what Metropolis really has is orginality. This German-Expressionist film had such originality in everything from its costumes to its views of a future (modern) city that its ideas can still be seen everywhere in modern sci-fi. Star Wars's C-3PO was based on Bridgette Helm's robot. Dark City and Brazil both have Metropolis look-a-like cities. This is a very good movie. It's too bad most movies don't have its originality.
1999-04-24
a visual fable of the highest order- one of the five great future films ever made
Fritz Lang was constantly experimenting with ways to tell stories by way of the visual medium, and his 1927 opus Metropolis is the cream of the crop of examples of this. Perhaps it was seeing the film in the greatest possible format (a fully restored print on the KINO DVD, filled with inter-titles to keep the story complete) that had me appreciate it more, but even if I had seen the film on a scratchy print or with not very appropriate music (i.e. Giorgio Moroder's experimental cut), it would still be affecting.

At the core of the story, Lang and his collaborator Thea von Harbou, the sides of good vs. evil, or at least the complete lack of understanding of the powerful over the weak, is set up so strongly that even when it has it's fairy-tale type of heaviness to it, it doesn't seem to feel compromised in strength or relevance for adults. This is the kind of film that should work for anyone, young and old, as it deals with universal themes (i.e. "The mediator between Head and Hands must be the Heart!")

The story leaves room for the visual style to come through- Freder is the son of a kind of Imperial man over the workers who die for the machines of Metropolis, Joh Frederson. He feels the sorrow and pain of the people, and goes down to their level to be one of them. He falls in love with the most compassionate and angelic of women, Maria (played by the beautiful Brigitte Helm, in multiple roles she plays without a fault), who succumbs to capture after the jealously of Freder's father. Enter the robot, a marvel of a mad scientist, who gets transposed from Maria, and becomes the havoc-wrecker of the part of Metropolis. I won't reveal too much of the story, except to mention that as a foreshadowing for Freder for the last act, as he wakes up in one scene the Book of Revelations sits in his lap.

Amidst in all of this, Metropolis is a masterpiece of visual effects, camera-tricks, and of course editing (if I wouldn't quite rank Metropolis in my all-time top ten favorites, I would rank it in terms of the editing and pacing Lang uses, which is apparent even in a permanently truncated version). It starts off with the image of the machine transposed over steam, and then soon moves to a vision of a city that was not far off from how it is in present day (cars moving on roads built to the sky, airplanes flying every-which way, and mammoth skyscrapers built in extravagant ways. But it's not just the use of the models, or the sets, or the backdrops, or even the use of space and atmosphere in most of Lang's shots (which are all spectacular), it's also the use of light that really caught my attention throughout the film. One thing I remember still days after seeing the film is the use of one spotlight on the character of Maria in a suspense scene (it also appears in other scenes I think). It's little things like that which make as big an impact as the montages, the super-impositions of faces and eyes in the dream-like shots.

And, of course, Lang's greatest innovation with the film is that in telling a futuristic story, he goes beyond his time period in stylizing. As I mentioned with the pacing being unique, it was surprising (though maybe not as much from seeing his classic M) that many of the suspense sequences, mob scenes/riots, chases, I knew that this is the same kind of styling that's used today for many of the most modern of science-fiction/action films. In its own way, much like Stanley Kubrick's 2001 Space Oddysey, it breaks the mold of conventional forms of storytelling, while not completely abandoning the storytelling form.

Although Metropolis has a checkered history of being cut down by countries, and it hasn't been seen in its full form in almost eighty years, what remains doesn't seem at all dated or crude. Quite the opposite, its visual expressiveness, its use of time and character and action, and its deliberate pacing, makes it ahead of its time and influential, and at the same time keeping itself unique. It's a tale we're all familiar with, being the tale of love and compassion coming into play in an industrial, cruel world- which I'm sure was even more relevant to post WW1 Germany at the time- filmed with a mix of over-the-top melodrama, mega-budget set-pieces, and designs that confound the senses. Add the appropriate music, and you've got a classic fantasy. A tremendous film to see two, three, a dozen times over- though some of those too impatient for films without spoken words (or by the operatic dramatic side of it all) may become disappointed or frustrated.
2005-07-18
Masterpiece
I am a novice of silent movies, I have committed the big mistake to keep this film on my computer for over a year without see it (despite repeated recommendations to see it at soon as possible). Unfortunately, if you see it in our days, the plot appears rather simple and easily predictable but, if you imagine that you are in a cinema of far 1927, you can easily to forget this subtleties. Until the early minutes the plot intrigues and the next 150 minutes flow without boring. Scenography and the futuristic and finely made environments project the viewer in the dystopia of Metropolis; city in which, Fritz Lang, skillfully mixes architectural and industrial elements of the Twenties with medieval elements and religious references: robot burned at the stake, machines transformed into ancient divinities, the emblematic tower of Babel and the Rotwag's alchemical laboratory. The message of the movie is quite simple but, thanks to the disruptive power of images through which it is transmitted, it remains well etched in the mind inviting even to think about it.
2014-10-08
The Inspiration!
You might get bored watching this, yes I gave it a 10 but I live in "the future" full of bright pictures and quickly cutting images. This movie is awesome though. I think most people can appreciate the 1920s black and white film look as a unique treatment to our current full-color film stock standards.

Listen, this movie is interesting and a little spooky especially through the lens of 80 years. It's a vision of the future that became typical with movies like "1984" or "Brazil" and a look that inspired 12 Monkeys and a hundred other cool modern day sci-fi films.

It's standard sci-fi...the machines are taking over and making life crappy for everyone. People are their own worst enemy. I love some of the crazy industrial revolution jobs you see our workers performing, like the guy who has to point these giant clock hands at different flashing lights.

If you like sci-fi, you'll probably enjoy this, at the very least you have to appreciate that this creepy art-deco 1920s vision inspired a lot of what you see today.
2005-12-15
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