Im watching and every sceene is facinating. What kind of imagination is this! very very ahead from their time. I can see many sci-fci movies ideas in this movie. When they took the idea from this movie, they couldnt even make better one. With all that technology and camera tricks. Some sceens reminds me ( naked people walking in the machine in big groups) Jews concantration camps. Maybe Hitler broken brain took this movie as an idea. Who could know, he ll try to bring sci-fi movie to reality. Its just a perfect movie, Germans movie history lesson for everyone. I hope Germans can bring this creativity and uniqe mind to movies again.

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)

Hi there!I consider myself to be a true admirer of movies, in general and I kind of stumbled over this one. If Mr Lang was in his flesh right now Id tell this to his face; - Id like to thank you Lang. How to do that? Im already rude just talking to you right now without proper introduction. Whatever: The movie is about workers and managers so to say, and no sound. The "soundthing" is kind of the point. That kind of movie... You don't have to be a stupid watcher or the kvasi-guy about it. Lets all stumble and be humbled. Hopefully Im kindly, Joel Kullberg