The folks at Kino International have restored the historic silent film and added an additional 25 minutes of “lost footage”, footage that had been recovered only a couple of years ago in Buenos Aires.
THE COMPLETE METROPOLIS will make a very limited theatrical run beginning this May. It will, however, hit DVD and Blu-ray later this year for all to enjoy or discover for the first time.
Check out the trailer below or head over to Apple for glorious HD!
Synopsis: The biggest-budgeted movie ever produced at Germany’s UFA, Fritz Lang’s gargantuan Metropolis consumed resources that would have yielded upwards of 20 conventional features, more than half the studio’s entire annual production budget. And if it didn’t make a profit at the time — indeed, it nearly bankrupted the studio — the film added an indelible array of images and ideas to cinema, and has endured across the many decades since its release. Metropolis had many sources of inspiration, including a novel by the director’s wife, Thea von Harbou — who drew on numerous existing science fiction and speculative fiction sources — and Lang’s own reaction to seeing the Manhattan skyline at night for the very first time. There are some obvious debts to H.G. Wells (who felt it “the silliest of films”), but the array of ideas and images can truly be credited to Lang and von Harbou.
In the somewhat distant future (some editions say the year 2000, others place it in 2026, and, still others — including the original Paramount U.S. release — in 3000 A.D.) the city of Metropolis, with its huge towers and vast wealth, is a playground to a ruling class living in luxury and decadence. They, and the city, are sustained by a much larger population of workers who labor as virtual slaves in the machine halls, moving from their miserable, tenement-like homes to their grim, back-breaking ten-hour shifts and back again. The hero, Freder (Gustav Froehlich) — the son of Joh Fredersen (Alfred Abel), the master of Metropolis — is oblivious to the plight of the workers, or any aspect of their lives, until one day when a a beautiful subterranean dweller named Maria (Brigitte Helm) visits the Eternal Gardens, where he spends his time cavorting with various ladies, with a small group of children from the workers’ city far below. They are sad, hungry, and wretched looking, and he is haunted by their needy eyes — something Freder has never seen or known among the elite of the city — and by this strange and beautiful woman who tells all who hear her, workers’ children and ruler’s offspring, that they are all brothers. He follows her back down to the depths of the city and witnesses a horrible accident and explosion in the machine halls where the men toil in misery. Haunted by what he has seen, he tries to confront his father, only to find that the man he loves and respects believes that it is right for the workers to live the way they do, while he and his elite frolic in luxury.