Metropolis (1. 92. Wikipedia. Metropolis is a 1. German expressionistepicscience- fictiondrama film directed by Fritz Lang. Scripted by Thea von Harbou, with collaboration from Lang himself, it starred Gustav Fröhlich, Brigitte Helm, Alfred Abel and Rudolf Klein- Rogge.

Erich Pommer produced it in the Babelsberg Studios for Universum Film A. G. The silent film is regarded as a pioneering work of the science- fiction genre in movies, being among the first feature- length movies of the genre.[4]Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city's ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city.

Filming took place in 1. Reichsmarks.[5] The art direction draws influence from Bauhaus, Cubist and Futurist design. Metropolis was met with a mixed reception upon release. Critics found it pictorially beautiful and lauded its complex special effects, but accused its story of naiveté. The film's extensive running time also came in for criticism, as well as its alleged Communist message. Metropolis was cut substantially after its German premiere, removing a large portion of Lang's original footage. Numerous attempts have been made to restore the film since the 1.

Music producer Giorgio Moroder released a truncated version with a soundtrack by rock artists such as Freddie Mercury, Loverboy and Adam Ant in 1. A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2. UNESCO's Memory of the World Register in the same year, the first film thus distinguished. In 2. 00. 8 a damaged print of Lang's original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 9. Berlin and Frankfurt simultaneously on 1.

Metropolis is a 1927 German expressionist epic science-fiction drama film directed by Fritz Lang. Scripted by Thea von Harbou, with collaboration from Lang himself. An elder ronin samurai arrives at a feudal lord's home and requests an honorable place to commit suicide. But when the ronin inquires about a younger samurai who.

Spirited Away (Japanese: 千と千尋の神隠し, Hepburn: Sen to Chihiro no Kamikakushi, "Sen and Chihiro's Spiriting Away") is a 2001 Japanese animated fantasy. An tale of revenge, honor and disgrace, centering on a poverty-stricken samurai who discovers the fate of his ronin son-in-law, setting in motion a tense showdown of.

February 2. 01. 0. In the futuristic year of 2. Metropolis, wealthy industrialists reign from high- rise towers, while underground- dwelling workers toil to operate the underground machines that power the city.

Joh Fredersen is the city's master. His son Freder idles away his time in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of the rich. Maria and the children are ushered away, but Freder, fascinated, goes to the machine rooms to find her. Witnessing the explosion of a huge machine that kills and injures several workers, he also has a hallucination.

The machine is Moloch and the workers are being fed, some naked, into the flames within Moloch. After the hallucination ends and he sees the dead workers being carried away on stretchers, he hurries to tell Fredersen about the accident.

Grot, foreman of the Heart Machine, brings to Fredersen secret maps found on the dead workers. Fredersen, upset with his assistant, Josaphat, that he was informed about the explosion and plans from Freder and Grot and not from Josaphat, fires him. Freder secretly rebels against Fredersen by deciding to help the workers, after seeing his father's cold indifference towards the harsh conditions they face. Fredersen takes the maps to the inventor Rotwang to learn their meaning.

Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes that he could fill the role and declares his love for Maria.

Fredersen orders Rotwang to give Maria's likeness to the robot so that it can ruin her reputation among the worker to prevent any rebellion. Unaware that Rotwang plans to use the robot to kill Freder and take over Metropolis. Rotwang kidnaps Maria, transfers her likeness to the robot and sends her to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent amongst the workers.

Freder recovers and returns to the catacombs. Finding the false Maria urging the workers to rise up and destroy the machines, Freder accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine rooms, leaving their children behind. They destroy the Heart Machine, which causes the workers' city below to flood.

The real Maria, having escaped from Rotwang's house, rescues the children with the help of Freder. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception until the fire reveals her to be a robot. Rotwang chases the real Maria to the roof of the cathedral, pursued by Freder, and the two men fight as Fredersen and the workers watch from the street. Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together.

Among the uncredited actors are Margarete Lanner, Helen von Münchofen, Olaf Storm, Georg John, Helene Weigel, Fritz Alberti and Curt Siodmak. Influences[edit]Metropolis features a range of elaborate special effects and set designs, ranging from a huge gothic cathedral to a futuristic cityscape. In an interview, Fritz Lang reported that "the film was born from my first sight of the skyscrapers in New York in October 1.

He had visited New York for the first time and remarked "I looked into the streets – the glaring lights and the tall buildings – and there I conceived Metropolis." Describing his first impressions of the city, Lang said that "the buildings seemed to be a vertical sail, scintillating and very light, a luxurious backdrop, suspended in the dark sky to dazzle, distract and hypnotize". He added "The sight of Neuyork [sic] alone should be enough to turn this beacon of beauty into the center of a film.."The appearance of the city in Metropolis is strongly informed by the Art Deco movement; however it also incorporates elements from other traditions. Ingeborg Hoesterey described the architecture featured in Metropolis as eclectic, writing how its locales represent both "functionalist modernism [and] art deco" whilst also featuring "the scientist’s archaic little house with its high- powered laboratory, the catacombs [and] the Gothic cathedral". The film’s use of art deco architecture was highly influential, and has been reported to have contributed to the style’s subsequent popularity in Europe and America. The film drew heavily on biblical sources for several of its key set- pieces. During her first talk to the workers, Maria uses the story of the Tower of Babel to highlight the discord between the intellectuals and the workers.

Additionally, a delusional Freder imagines the false- Maria as the Whore of Babylon, riding on the back of a many- headed dragon. The name of the Yoshiwara club alludes to the famous red- light district of Tokyo. Much of the plot line of Metropolis stems from the First World War and the culture of the Weimar Republic in Germany.

Lang explores the themes of industrialization and mass production in his film; two developments that played a large role in the war. Other post- World War I themes that Lang includes in Metropolis include the Weimar view of American modernity, fascism, and communism.[1. Production[edit]Pre- production[edit]The screenplay of Metropolis was written by Thea von Harbou, a popular writer in Weimar Germany, jointly with Lang, her then- husband. The film's plot originated from a novel of the same title written by Harbou for the sole purpose of being made into a film.

The novel in turn drew inspiration from H.