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best movie i've ever seen.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The impressionable Freder (Gustav Fröhlich) is the son of an industrialist in a world of the future. In this world, all the upper class members live among the clouds, in luxury, while the blue collar workers who maintain the numerous machines live dreary existences. Freder, entranced by the outspoken Maria (Brigitte Helm), decides that the workers are his friends, and rebels against his tyrannical father (Alfred Abel). Meanwhile, a mad scientist / inventor (Rudolf Klein-Rogge) assists the father in his schemes by giving his robotic creation "the machine man" (also played by Helm) Maria's likeness, and having this fake Maria incite the workers to violence so that the dad can use violence against them.Considering that this early Fritz Lang masterpieces is over 90 years old, it's quite the stylish accomplishment. The sets, the photography, and the special effects are amazing, especially when you see how Lang is doing all of this on a grand, epic scale, leading to a destructive finale that works as an ancestor to the "disaster film cycle" that came along almost half a century later. The provocative screenplay (written by Thea von Harbou, based on her novel) makes one think about such things as the advent of unions, unsafe working practices, mistreatment of the lower class, and, of course, the way that people would come to rely so much on machines and technology for their continued existence. Since the film is now available in an almost-complete version (about 25 minutes worth of footage were discovered not that long ago in Brazil), it's a very long and deliberately paced fable, one that wouldn't suit viewers with shorter attention spans. It also bears the mark of many silent films, with some VERY enthusiastic acting from some of the principals.Still, it's hard to deny the absolute passion brought to this project by the filmmakers and cast. It has wonderful atmosphere, carrying a feeling of despair that ultimately climaxes with a sense of hope for the future. The big set piece of Metropolis being flooded is some genuinely exciting stuff, and will have even modern audiences marvelling at how Lang and company pulled this off.Lastly, it's a superb melding of memorable images (such as the look of The Machine Man) with the excellent music composed by Gottfried Huppertz. (Various other composers have taken a stab at writing for this classic over the years.)Future noted genre writer Curt Siodmak ("The Wolf Man", etc.) has an uncredited bit as one of the working men.Nine out of 10.

This film is rated very highly as a futuristic sci-fi story made in 1927 setting the example how future sci-fi would be made some 40 years later.As a silent movie, albeit with a music sound track added to it, it remains an extremely difficult movie to follow, as the limited interspersed written sections in between scenes are all in German, though the film has been updated with previous lost parts and supposedly, addition of English translations.The movie I saw, was indeed on BluRay with an on-screen written explanation in English, giving the movie's history and how lost parts had been recovered. But the movie itself was still completely the German version.A classic movie? No way! After an hour I scanned through the rest and found nothing of interest in this overlong movie. It should have remained on the rubbish heap.

I was excited about the movie after reading the reviews but I have to say the this movie just not makes sense in 2018. It must have been a master piece in 20's but after almost 90 years it has lost all its relevance.

Film Review: "Metropolis" (1927)Three years of intense production work between 1924 and 1927 in the Weimar Republic (German State from 1919-1933) concludes with the last epic motion picture of the silent era in cinema with "Metropolis" releasing on January 10th 1927 in Berlin and March 6th 1927 in New York City.Director Fritz Lang (1890-1976) and Writer Thea von Harbou (1888-1954) reflect on lavishly lived times of the in-between years of Two World Wars and cinema itself as the evolution of all art forms, which came before, locking in the prototype of today's so-called "Event Movie Cinema".A universal storyline on morals of human society fills the silver screen to the opening remark as punchline on necessities in order to create: "Between the head and the hands must be the heart." A remark, defying any political regime based one-sided horror, terror and violence, seeks to balance society between the light and the dark.The picture centers five decisive static, high-design, volume-speaking shots of a CLOCK, the MACHINE, a CITY, a SIGNAL and the PEOPLE. The cinematography establishes scope with depth of field of layered matte paintings, which then in 1937 finds its evolutionary step in animation with "Snow White and The Seven Dwarfs" produced and directed by uncredited Walt Disney (1901-1966).A glance between a rebellion-leading woman, portrayed by actress Brigitte Helm (1906-1996) in double role as the character of Maria and The Machine Man; entrepreneur Joh Fredersen's son by the name Freder, given face by actor Gustav Fröhlich (1902-1987), commences the eager wish for change in society toward a balanced work-leisure-relationship.The original full-orchestra musical score by composer Gottfried Huppertz (1887-1937) underlines each scene with aural beats of soundmaps, enhancing transcendence of the character's emotions to the audience.The Son, driven by force and passion to learn from the worker's community, infiltrates his father's factory with a suspense-building identity swap with one of the workers, while the Father puts his son under surveillance by a mysterious investigator dressed in black with hat.At running time 0h 38mins 15sec, the story thickens with Industrial frontrunner Fredersen, performed by actor Alfred Abel (1879-1937), encounter with nemesis C.A. Rotwang, the inventor, wearing a black glove, covering his right hand, which is believed to be a fully mechanized metal hand, triggering scenes for motion picture classics as "Star Wars: Episode V – The Empire Strikes Back" (1980) and the fundamental basis for the cybernetic character in "The Terminator" (1984) directed by James Cameron.The conflicting content raises stakes with revealing that characters of Rotwang and Fredersen loved the same woman, who died in giving birth to son Freder. The inventor obsessed by the idea of defying death and creating a Machine Man, presents the manager with hard evidence that an underground rebellion has been in progression, triggered by rebel leader Maria.Fredersen, in danger to lose his power in the city, demands Rotwang to fulfil the creation of a Machine Man in giving it the face of rebel leader Maria. Little does he know that his order sets society threatening actions in motion, while his son Freder kisses Maria, who eventually gets abducted by Rotwang in a mystical, horror-genre-embracing mis-en-scène within "Metropolis" underground catacombs in atmospheric production design of earthy dust, human skeleton parts put into place for a flash-lighting pursuit in the dark, before the FIRST PART of the film ends with a high pitch cliffhanger of Rotwang cornering Maria.The ENTRE'ACTE of "Metropolis" follows a 30 minutes montage sequence, where Maria, in the clutches of Rotwang, gets strapped in a glass tube for transformation, reminiscing the character of Leeloo in "The Fifth Element" directed by Luc Besson with stripes covering certain body parts of her naked body; the metallic-faced Machine Woman gets morphed into breathing organism of flesh and blood with a science fiction visual of super-imposition in order to mimic Maria in society to destroy the rebel's reputation.The experimental stage of the picture leads director Fritz Lang to emerge one of two appearing immersive camera movements with a single shot point-of-view (POV) of Freder's hand reaching out for evidence at running time marker 1h 22mins 15 sec, searching for further leads to Maria's whereabouts. Art Décor production design in a timeless reception striking into the spectre's eye still prevails to amaze. Classic shot continuity gets abandoned completely with In-Shot set interior transformation, recalled by director Martin Scorsese in a computer-generated digital green-screen set-up of the film "Shutter Island", where the character of Teddy Daniels, portrayed by Leonardo DiCaprio embracing the reminiscence of his wife Dolores, performed by Michelle Williams, in a psychedelic memory shot.Actress Brigitte Helm rampages in the night club "Yoshiwara" at a downtown Metropolitan location, running the high society men, wearing in tuxedos into hostility and duels to death, when the revolution begins at time code 1h 42mins 00sec with an uprising, heart-machine destructing live-action masses of communal-bound workers. The dynamics leave today's audiences guessing what may have hold the full 210 minutes world-premiering final cut from 1927 in stakes, when most character-endangering fight scenes as Fredersen versus Rotwang in an high-tech laboratory have vanished from the face of the Earth, considered among forever lost scenes of motion picture history.The showdown of "Metropolis" on rooftops of the highest, Notre Dame reminding, Gothic cathedral needs to be witness to believe how close the scenario delivers striking character action with contemporary cinema. Parallels to "Batman" (1989) directed by Tim Burton and "The Crow" (1994) directed by Alex Proyas are undeniable evident, when a full circle conclusion puts the spectator into awe with an concluding premise Three-Shot of balancing the HEAD, the HANDS and the HEART for future generations to come.© 2017 Felix Alexander Dausend (edited version) (Cinemajesty Entertainments LLC)