🎦 Metropolis full movie HD download (Fritz Lang) - Drama, Thriller, Action, Adventure, Fantasy, Sci-Fi, Romance. 🎬
Drama, Thriller, Action, Adventure, Fantasy, Sci-Fi, Romance
IMDB rating:
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...
Type Resolution File Size Codec Bitrate Format
1080p 1440x1080 px 11199 Mb h264 128 Kbps mkv Download
HQ DVD-rip 576x416 px 1397 Mb mpeg4 1165 Kbps avi Download
DVD-rip 512x384 px 1276 Mb mpeg4 1503 Kbps avi Download
Futuristic science fiction epic is imaginatively staged by Fritz Lang...
The first great sci-fi film is still amazing for the sets and special effects--primitive as they may seem to day's fans--especially if viewed in the sort of pristine print seen on TCM these days.

German expressionism is in full swing from the opening scene of workers reporting for a shift change in the city of the 21st century before switching to the opulent world above where men enjoy a playboy existence devoid of work and concentrating on play. There's such intensity to the surreal images on screen that it defies your ability to turn away--in other words, director Lang knows how to hook you into the story from the very start.

It's not the story that's significant here. The startling special effects and costumes and images of a mechanized society are what capture the attention immediately. The main story has the young man abandoning his life of luxury to join the oppressed workers that he observes caught in a mighty explosion--and wanting to do something by joining the workers in the depths.

Pretty heavy-going at times and the acting is strictly from silent screen technique--very melodramatic with broad gestures. The plot takes an interesting turn when the inventor is instructed to give the Machine-Man the image of the girl--whom the manager's son has fallen in love with. The manager is still bitter because his son has joined the oppressed workers. This leads to all sorts of mayhem among the workers climaxing in some of the most astonishing set pieces ever conceived at this time in German film-making.

An extraordinary viewing experience, original in concept and dazzling in execution. A memorable performance by BRIGITTE HELM, especially as the mechanized Maria.
"Who are the slaves of the machines?"
"There can be no understanding between the hands and the brain unless the heart acts as mediator." This is the predominant theme of "Metropolis", and director Fritz Lang finds numerous ways to say and visualize his message during the course of the film. The movie relies on repeated visual imagery to make it's point, and does so effectively even if tedious at times. Particularly effective is the representation of the worker society as an almost single living unit, moving trance like to their appointed time and task. The use of a "ten hour" clock in the workers' chamber constantly draws our attention, as does the hangdog posture of the individual slaves who grind out their workday as if in a daze.

Amid this rabble, worker Maria (Brigitte Helm) is the inspirational voice of the workers, offering hope for a brighter future by a mediator yet to appear. However the Master of Metropolis John Frederson (Alfred Abel) sees in her a way to quell the underlying frustration of the workers, commissioning his scientist Rotwang to create a robot Maria to plant discord among the workers. Rotwang's laboratory would have done Frankenstein proud, and the creation of the robot is a marvel of cinematic imagery. The robot Maria's "belly dance" transforms into a scene of such raw energy and sexual awareness that it awakens the statues of the Seven Deadly Sins, one of the master strokes of this expressionist film.

So much imagery in fact is layered into "Metropolis" that it's safe to say that repeat viewings will lead to even more interpretations of it's vision, and not simply for it's denunciation of a class society. Both timely and timeless, the film captures a dynamism that inspires passion even after nearly eighty years following it's original release.
One of the best movies I've ever watched
This movie is a masterpiece. Though a silent movie, it says so much. The editing is perfect, and the first time i saw this film i was shocked at how they did it back in the '20s. There were a few scenes which i watched over and over, just admiring the beauty of them. The director did a perfect work, the scenes, and the frames just being perfect. The storyline is complex, yet simple, tells so much through so little. Prophetic, yes, but a bit exaggerated. The only thing shallow about this movie is the fact that most people nowadays will turn their heads at the first sight of it, being black and white, and being silent.
The best movie of that year! :) OK, it's brilliant
How weird is to watch and analyze now a movie that was made 80 years ago. I think the best way to describe it is a movie that proves arts evolve to evoke the same feelings about the same problems. People haven't evolved since 100 or 1000 or 10000 years ago, they just evolved new special effects.

Metropolis shows a world separated in two great social classes: the thinkers and the workers. Of course, the thinkers don't think nearly as much as they should while the workers do some thinking from time to time. This leads to a conflict in the end of the movie that ends making the point of the movie: you need to guide your actions with responsibility, not only thought or brawn. A powerful idea not only then, when capitalism was showing its ugly side to the world, but also now and in any human epoch.

The film looks stunning for that era. Metropolis itself looks like the grandfather of the Total Recall 2070, Blade Runner and Batman cities. The aerial vehicles that move people look like very old The Fifth Element or Star Wars air cars. The script has the corporate villain, the idealistic youth, the mad scientist, all elements copied in movies again and again since then on.

I don't think it was particularly entertaining. It is so old (and being black and white and with no sound makes it really hard to watch) that it doesn't really appeal to you the way modern films do. But if you are a movie buff, one that needs to know where it all started from, you just have to see Metropolis, the granddaddy of all cinematography now.
Lang's Film Remains Impressive Years Later
Metropolis is a German expressionist science-fiction film directed by Fritz Lang. The film was written by Lang and his wife Thea Von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. The film was produced in the Babelsberg Studios by UFA.The biggest-budgeted movie ever produced at Germany's UFA, 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.

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 -- the son of Joh Fredersen, 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 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. Freder decides to do something about it, but he must first learn more, and also locate Maria. With help from Josaphat, Fredersen's recently dismissed office manager, he goes below again and takes over the job of one of the workers, in order to find Maria. Meanwhile, Fredersen is concerned about the rumblings of unrest among the workers, and his son's sudden interest in their plight; he assigns "Slim", his investigator, to follow Freder. Meanwhile, he goes for advice to an old acquaintance, the inventor C.A. Rotwang. Rotwang once was a rival to Fredersen for the love of the woman Hel, who married Fredersen and died bearing his son, Freder. Rotwang still feels the loss, but he is a cunning and practical man, and is willing to help his old "friend," but not before showing off his latest creation -- a robot that he has modeled in the image of his beloved Hel, that he may have her again. Rotwang answers Fredersen's question by taking him to the catacombs below the modern city, where they see Maria preaching the gospel and counseling patience, in the hope that a "Mediator" -- who will be able to reconcile the "head" and "hands" of society (i.e. the ruling and working classes) -- will come among them. Fredersen will hear none of it, and sees the need to break the workers' resistance and destroy Maria's influence among them. He arranges with Rotwang to make his robot creation into a duplicate Maria (which requires his kidnapping her), and to send her out among the workers to incite them to violence, so that Fredersen can use force against them. But he doesn't reckon with Rotwang, who despises Fredersen and his ruling class, and has commanded the robot to obey his orders and follow a plan that will destroy the city, both above and below ground. Fredersen also doesn't reckon with his own son Freder, who not only believes in what Maria is preaching but is beginning to see himself as the "Mediator," and is right in the midst of the conflagration when the workers' uprising starts. Soon, fires and floods spread, threatening to doom the children of the workers, abandoned in their parents' frenzied attack on the machines, and the city of Metropolis faces an impending disaster of biblical proportions. Meanwhile, the now-mad Rotwang tries to reclaim his lost Hel, and Maria and her evil robot twin are both stalked by crowds of workers driven to a murderous rage.

To see the film as the director intended, on the big screen with an original score recorded by a 60-piece orchestra, greatly enhances the reputation of a film already considered one of the icons of the silent era.This movie is certifiably nuts and naive in many ways, but it is so exciting for it is a visually awe-inspiring science fiction classic from the silent era.Most of all,The first must-see movie of 2012 is also the must-see movie of 1927. The difference is that you can actually see it now. Or most of it.And most of all,Lang's visionary visual creation remains impressive many years later.
A masterpiece that should be seen by all who love film
Fritz Lang's Metropolis is a film I had heard of, and I knew it's cultural impact, but I had never actually seen it. I decided to download it on my iPad and watched the 2010 restoration. I was expecting a good little sci-fi silent with anti cruel government messages. I did get that, yes, but I got much more. The story follows Freder Frederson (Nice name) who is the son of the mayor of a grand city called Metropolis. Freder encounters a woman named Maria who is the caretaker of the worker's children. Freder learns that all the workers live in their own little underground city and are not allowed into Metropolis. Freder confronts his father about this and gets a negative response. His father then fires his assistant Josaphat. Freder then let's Josaphat live at his house, while he goes off to take the places of workers. Freder learns that Maria also runs an underground church for the workers. She is trying to give them faith that a mediator between brain and hands will come and help them. Freder's father learns of this and has an inventor named Rotwang have his Machine-Man take Maria's form and pose as her to crush their faith in a mediator. For 1927 that is a great plot, even today it works. Fritz Lang really takes advantage of this and gives us some of the best direction I've ever seen. The effects are beautiful and innovative. The use of mirrors and double exposure is just wonderful. The performance are good. Some of the actors over act (The men in the yoshiwara during Maria's dance are just the worst), but some of them give good, non goofy performances. The best performance comes from Brigitte Helm. The way she plays Robot Maria is over the top, but because of that, you have to love it. The ways she moves quickly and talks is just so fun and entertaining. The screenplay is well written, even though the dialogue can be pathetic sometimes. The production design is the most iconic thing about the movie. The way the city of Metropolis looks has influenced a great number of films. It was a vision of the future that does exist today. Look at modern New York City and Metropolis. The resemblance is certainly there. Overall, Metropolis is well directed, interesting, vision of the future with important social commentary. I give a 10/10
Enormous Influence
First of all Metropolis is at it's best when you watch it with the right score (music). Stay away from the "MTV version" that music is awful and doesn't do justice to the movie. I recommend the newest version on DVD with an attempted recreation of the original score, though that would be next to impossilbe because in the days of silent films the score was provided in the theater live. Anyways I think that many people have a hard time getting used to black and white films let alone silent ones (speaking of people in my generation), so this movie can't be judged harshly or unfairly on those 2 prerequisites. If you watch Metropolis with an open mind you will be blown away. It's a science fiction movie that effectively deals with themes of class, politics, and religion. The sets and design are amazing to me, because the film was made in 1927 and in fact it's creation almost brankrupted the studio (UFA) which funded it. The imagery is what Lang is a master at and even if you watch the crummy MTV version you have to appreciate the symbolism and at the very least the sets and imagery. This movie has made a profound influence on Blade Runner, Star Wars, the Matrix, and many other sci-fi movies that are themselves highly influential. Without Metropolis I doubt any of those movies would have come out the way they did. In fact I think it's highly suspect if they would have been made at all, especially Blade Runner or the Matrix. NOTHING was like Metropolis before it's creation and even years after it's creation it stands as unique. I think for it's style and imagery alone it can be considered one of the most important movies ever. It's story isn't the best, but this is a must see for any movie buff. Once you watch it, you may be surprised at how many films actually "borrow" from it.

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.
The Mother of Modern Science Fiction *Spoiler*
This review contains Spoilers. But since the story is by far the least reason to watch Metropolis, feel free to still read it, even if you haven't watched it yet.

Metropolis is a film that was far ahead of it's time. It influenced a great lot of science-fiction films, and how The Blade Runner, Batman or Dark City would look like if there wasn't Metropolis - who knows. Even The Matrix Reloaded is heavily inspired by this classic that is as old as my grandmother.

Now what is it all about? About Freder, the son of the head of the city of Metropolis, a Christ-like figure who falls in love with the preacher of the working class, a saintlike woman who happens to be named Maria. When a robot who is modeled to look like Maria makes the workers almost extinguish their city and their children, Maria and Freder save the children, and in the end Freder makes his father and the workers cooperate for a brighter future.

Sounds silly to you? Yes, and that's exactly what the story is: silly. That's also the reason why, still today, Metropolis isn't accepted as the masterpiece it is by a few film buffs. But these people don't understand one thing: A good film does more than only tell a story. A film can be great even without a story at all, and a silly story combined with amazing visuals can make you forget all the other weaknesses a film has.

And wow, what amazing images Metropolis offers. What an art direction! What wonderful special effects! And remember, as I already said, this film is as old as my grandmother! Just have a look at the workers. They hardly ever seem to be individuals. In the mass scenes they look like one big creature moving forward or backwards. When they are working they look more like machines than like human beings, whereas the machines resemble monsters more than they do technical devices (best seen in the moments when Freder hallucinates and sees the big machine as a worker-eating Moloch). We also see a worker (and later, Freder) work on a machine that looks like a clock with 100 blinking light bulbs, doing some that looks as exhausting as it looks senseless. Or think of Rotwang, the mad inventor who lives in a little hut that looks in this film like it was from another world. He has a black prosthesis for his right hand (it's not a coincidence that Stanley Kubrick gave his mad scientist/inventor Dr. Strangelove a prosthesis for his right hand, too). He builds the robot that he makes to look like Maria, and that transformation scene is one of the most magnificent scenes ever and looks more convincing than some scenes of modern sci-fi flicks.

I also have to mention Brigitte Helm, who plays Maria and the robot - and the look in her eyes would already be enough to tell which of her characters is on screen at the moment. If something like awards already would have been given in the 1920s, she sure would have walked home with quite a bunch of them. And just look at her sexy dance! It is just as memorable as the shot of the many eyes watching her dance - or the many faces watching her preach just a few minutes later.

Metropolis is a film no sci-fi-fan should miss. I had the good luck that my first viewing of Metropolis one year ago was in a cinema (when it was a re-released after its restoration). I can only recommend you to watch it in a cinema if you have the possibility to, as Metropolis is, just as 2001 - A Space Odyssey one of those rare films that are masterpieces on your TV set, but a revelation on the big screen.
not as good as i thought it would be
fritz lang's metropolis would have undoubtedly blown me away in 1927, yet as hard as i try to realise the importance of the film, it is still a boring, overlong film with an average plot. i dont know how much of this has got to do with the version i saw, which was a 139 min version DVD released in 99, with a new score (which was mind numbingly awful BTW) by Peter Osborne, but the movie just DRAGGED. i would love to have seen a shortened 90 min or so version which would have kept my interest. also, the picture quality was shocking as well, i mean, i realise its a very old movie but the dvd picture looked as bad as a VHS after about 1000 viewings. the acting was absolutely crap, but i can accept that for the time it was made, yet it certainly didnt help me want to watch this movie to the end, speaking of which, was pretty poor.
📹 Metropolis full movie HD download 1927 - Alfred Abel, Gustav Fröhlich, Rudolf Klein-Rogge, Fritz Rasp, Theodor Loos, Erwin Biswanger, Heinrich George, Brigitte Helm, Gisele Eve Schittenhelm - Germany. 📀