🎦 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...
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Silent era icon
In the futuristic city of Metropolis, wealthy residents live a bright easy life up in the sunshine while the poor suffer down below maintaining the machinery. The workers live in a deep underground city. Freder Fredersen is one of the privileged who live in luxury above. His father Joh Fredersen is the founder of Metropolis. Beautiful Maria leads a group of children up to the surface and is quickly sent back. Freder tries to follow but discovers the horrific working conditions. He goes to the Tower of Babel to speak to his father but he is unmoved. Freder switches place with one of the workers. Joh comes to see old fellow inventor Rotwang to find him still obsessing about their mutual love of Hel, Freder's dead mother. Rotwang has created a robot with a devious plan. There are mysterious maps that have been discovered among the workers. Freder is invited to listen to Maria as she retells the story of Babel and the need for a heart to mediate between the hands and the head. The crowd is restless for change. Freder wants to be the mediator. Joh and Rotwang followed the maps to the meeting. Joh tells Rotwang to make the robot into Maria to sow discontent with her followers. Rotwang has a different idea to destroy the city.

This is the height of silent era movie-making. The story is fairly simple. The characters are clear cut icons of good and evil. The acting is definitely silent era. The images are ahead of its time. The fact that they are still influencing films of today says it all. This film will always be one of the cornerstones of silent movie-making.
The creation of a genre
Metropolis may just be the most influential movie of all time. Not only did it create a genre, it created a new, bold form of cinema. The special effects will knock you flat. They are amazing for mid twenties cinema. It has so many elements combined into the story it continues to amaze after each viewing. The tagline "the mediator between the hands and the brain, is the heart." is quite true and this movie really proves that. The Sci-Fi genre owes so much to this masterpiece. Words cannot do it justice. Lang's masterpiece is untouchable. If you go into the movie expecting a typical silent film, you will be sorely disappointed. This movie is better than 99% of movies released today, and that is the mark of true greatness. The test of time. And it's passed with flying colors.
The "Blade Runner" of the '20's.
This truly is a classic masterpiece and honestly one of the best movies ever made. The story is brilliant and the visuals amazing.

I have seen the German 147 minutes version of the movie, without subtitles. Yes it's a long watch but it's worth every second of it. Basically only reason why the movie is so long is because they need about ten hand gestures to speak one sentence. It's kind of dreadful to look at first but once you're used to it, it shouldn't trouble you anymore.

In many ways this movie can be regarded as the "Blade Runner" of the '20's. "Metropolis" is set in a futuristic world that has a same kind of atmosphere as in "Blade Runner". The mix of '20's cars and propeller-planes with futuristic machines, highways, buildings and androids is very unusual but an absolutely awesome thing to look at. The movie was ahead of its time and in some ways also prophetic.

The story is absolutely the best thing of the movie. Also the way the story is told and directed by Fritz Lang deserves credit. The story is tense and has quite some symbolism, layers and storyline's but remains always easy to follow. The ending is truly spectacular and tense. The way how spectacular and tense the ending and the entire movie in general was, really surprised me in a positive way.

The sets are obviously fake and miniatures at times but they still manage to convince and impress. Further more the movie is filled with some fantastic and very convincing early special effects.

Man who also deserves credit is Alfred Abel. Wow, what a great actor he was in this movie.

An absolute must see and one of the best movies of all time.


My favourite film, my last review.
'Metropolis' is my all-time favourite movie, so I've saved this for the last review that I plan to write for this wonderful website IMDb. I've enjoyed sharing my experiences of the movies I've seen, but now I'm moving on to other passions.

Although written by Fritz Lang's wife Thea von Harbou, 'Metropolis' was originally Lang's idea: he was inspired by the sight of New York's skyscrapers when he sailed to America in 1925. During his American trip, he visited the set of 'The Phantom of the Opera' and met Lon Chaney! Too bad the encounter wasn't filmed.

Despite its epic power, 'Metropolis' makes very little sense. The two major male characters are a father and son named Freder and Fredersen, so why is the one named Freder*sen* the father (not son) of the one cried Freder? Why does the master of Metropolis deliberately connive to destroy the city that he built? Why is Rotwang's crude little cottage the only pre-Fredersen building that wasn't demolished during the construction of this city? (Von Harbou's very long and unwieldy novelisation of her script establishes this fact but never explains it.) How and why did Rotwang's high-tech laboratory manage to get constructed BENEATH that cottage without disturbing it?

For modern viewers, some of the plot's incoherence can be blamed on missing footage, particularly in American prints. The distributors for this film's original Stateside release commissioned playwright Channing Pollock to translate the German titles. A major subplot of the backstory features a deceased woman named Hel, who was married to Rotwang but left him to marry Fredersen and give birth to Freder. This unseen woman's name could not easily be changed for the American version, due to a couple of shots of her memorial, engraved with the Teutonic name HEL. Apparently, Pollock feared that American viewers would be offended by this word's similarity to 'Hell', so he simply excised the entire subplot from this long movie.

The real-life drama on the set of 'Metropolis' must've been quite interesting in itself. Mad scientist Rotwang (alias Doctor Strangeglove) is played by actor Rudolf Klein-Rogge, who had been married to scenarist von Harbou before she left him to marry Fritz Lang, the mastermind of this film. In 'Metropolis', Rotwang's wife left him to marry the master of Metropolis. I'd love to know how Klein-Rogge felt about the fact that his real-life marital (and sexual) situation was the inspiration for key plot elements of this movie ... and I wonder how Klein-Rogge felt about knowing that the entire cast and crew knew this as well.

Most astonishing about this gargantuan production is the fact that nearly all of 'Metropolis' was actually built to scale, with just a couple of miniatures.

Trivia tidbit: actress Brigitte Helm was cast in the dual female role largely because she was flat-chested, and therefore she could easily fit inside the mechanical suit for the Robotrix. A more busty actress would have suffered constant discomfort inside those galvanised bosoms of the metal costume. I learnt this more than 20 years ago from an eldery Austrian stagehand who worked on the film.

For all its flaws, 'Metropolis' will always be my favourite movie. I've enjoyed writing all these reviews for IMDb. The joy of posting my reviews on this site has brought me many friendships and a few enemies. Well, you can't win 'em all.

Nitrate film stock doesn't last forever, and all good things come to a happy ending. This is my last review here. I'll keep watching movies, but other passions are important to me as well. Thank you, IMDb, and thank you to everyone who has read my reviews. I will happily rate 'Metropolis' a full 10 out of 10.
Not really sci-fi at all, but a masterpiece nonetheless.
"Metropolis" is, if nothing else, one of the most spectacular visual movies I've ever seen. Reportedly the most expensive German movie up to that time, Fritz Lang created an awesome city, totally memorable. I was lucky enough to see the restored version of the film -- listed as being 124 minutes, seeming like less -- in the theater with a group of about 70 people. Everyone seemed to enjoy the 75 year-old beast. (There was some clapping at the end -- a tradition that has always perplexed me. I mean, it's not like Fritz and his crew, or even those responsible for the wonderful restoration, are around to bask in the applause. Although, I guess, the applause was meant more for the theater that opted to bring the film here.)

This is definitely one for the big screen.

The story is heavy-handed by today's standards, but putting myself in the shoes of what I imagine the average audience of the time would have been like made me appreciate the ideas of the film more. (By no means, however, am I suggesting that a 1927 audience was less educated than we. They just didn't have the extra 75 years of movies we do.)

The subterranean workers of the great city threaten to overthrow its rulers, led by Joh Fredersen. Now, Joh's son, Freder, sees an angel of a girl, Maria, who shows him his "brothers" and the terrible conditions of his father's workers. Maria captivates Freder, and she preaches the message of love and peace. The film's message, stated through her, is that the mediator of the hand (workers) and the mind (leader) is the heart (Maria and Freder).

Freder goes below, to the "depths," where he poses as a worker. He discovers plans for a revolt (more like a strike) where the workers will leave their machines in the hopes of being granted better conditions.

But things get more complicated when Joh Fredersen has his scientist, Rotwang, who lives in an old barn-like house that the technical revolutions of the future have forgotten, design something for him. Rotwang has already created a machine man, modeled after Joh Fredersen's dead wife Hel (a sort of "replacement"), but Joh Fredersen has him affix Maria's face to the machine. Joh plans to use this machine to incite the workers to violence, by having her first get the workers' attention by doing a (not so) sexy gyspy dance. Of course they do, and the city is flooded. The moral at the end of the film is silly, but because the whole film is so unrealistic, so much like a fable, it didn't bother me. (I did, however, lean over to my friend and say in a Fred Rogers voice, "Won't you be my mediator?")

There really isn't much else you can say about "Metropolis." Those images are why you'd see this movie. The way it reflects (or maybe warns against) Nazi totalitarianism is interesting. (One image, in particular, where a machine explodes and turns into a giant devourer, has an unsettling similarity to gas chamber.) I like that Lang was interested both in the ideals of Freder and Maria, but also in a sense of order. With the uprising that does occur, of course, there are repercussions. The dialogues (or title cards) in the film express a protest of the sort of dictating aristocracy of Metropolis, but Lang's own spectacular sets and monumental vision seem to argue with that.

The sets and the images (including two memorable camera moves) just can't be overemphasized. Sometimes they look like models or Styrofoam or just plain goofy, but they're incredible and original and influential. Many a homage has been paid to this film, from "Dr. Strangelove" to more of a blatant rip-off in "The Fifth Element."

This is a vastly entertaining movie, made no less enjoyable by its sometimes silly premise. (It's not as if the acting in silent movies isn't wildly exaggerated -- and isn't that the appeal in the first place?) I'm completely ignorant when it comes to Lang -- this is the first movie of his I've seen. Nevertheless, this is a masterwork.

man machine
A masterpiece that's all I can say. Go figure out how they did all the effects back then. Editing wasn't what we see nowadays and CGI wasn't done of course so it had to be done all in-camera or layer on layer for special effects.

German expressionism on it's best. Finally since a few years full uncut after finding the reel in Buenos Aires in really bad conditions. It shows in the full uncut but it doesn't bother. just seen it finally on Blu Ray it's worth picking up. Not only for the restoration but for the flick itself of course. Just see the settings how wonderful they were. What even surprised me was that in the beginning one dancer is showing her breasts and that for 1927! Even the main lead Brigitte Helm transformed into the robot goes dirty dancing. One of the last silent movies made, it was in the same year that The Jazz Singer came out with sound.

Even clocking in way over 2 hours not one minute did it bore me. Cult classic that did stand the time and is still actual.

Gore 0/5 Nudity 0/5 Effects 5/5 Story 5/5 Comedy 0/5
An amazing epic of society, love, and power relations.
Fritz Lang has made some amazing movies. This is his best silent film. The story takes place in a future city where the rich live in a marvelous paradise where technology and economy are better then ever. But the labor involved in this is deadly and shocking and it's where the worker's city comes in. When the son of the president, Joh Fredersen (Alfred Abel), Freder Fredersen (Gustav Frohlich) falls for Maria (Brigitte Helm) a prophet of the worker's city, he goes down to the worker's city and is horrified by what he sees. Freder tells Joh who prohibits him from returning to the worker's city but Freder continues to visit Maria. Finally in an effort to prevent his son from going back, Joh orders reclusive scientist CA Rotwang (Rudolf Klein-Rogge) to build a robot model of Maria, who in the form of Maria inspires to workers to rebel and riot around Metropolis. It all comes down to a clash between the rich and the poor. It's really unforgettable. Metropolis was very provocative for it's time, and the way it was made is just epochal. Metropolis is a monument of film history. An unbelievable epic.
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.
A silent film ahead of its time...
First of all, I don't consider myself a silent film fan. Actually, I never really seen a silent film until METROPOLIS, unless you count THE ARTIST. Like most people, my first impression would be that silent films are boring. But I was wrong...

METROPOLIS took me completely by surprise. I was impressed at how advance the special effects are. The set design of the city is fantastic, looks very similar to something you would seen in Sci-Fi films today. The story is original with a powerful message. Though the performances of the actors are a bit over the top, which I suppose is to be expected in silent films. Also some lost parts of the film were recovered and restored, so the transitions of different qualities throughout is a bit distracting.

Overall, METROPOLIS is a great film ahead of its time. Though, I must admit it is a little hard to sit through; I myself ended up stopping it occasionally, it is a good 2 hours long.
Extraorindary film, but with a heavy Marxist message
Has slavery truly been abolished? Men and women go to work every day in the world. Some never return. Many work long hours, some even twenty-four hours straight. Many of these jobs are grueling, dangerous and people even die while at work due to overexertion, accidents or negligence. For as hard as these people work many are paid minimum wage; some even less than that. With all of this mind, I believe one can soundly argue that slavery does still exist.

I feel the 1927 film Metropolis conveys this. In my opinion, this film is an early political vehicle to persuade its audience to embrace Marxism. I say this because it shows the workers (or proletariat) being exploited, basically worked to death, by the rich (or capitalist bourgeoisie).

I also think the Maria character is symbolic of the Christian church. Marx described organized religion as "the opiate of the masses." I feel Maria is supposed to be this opiate because: for one, her name is Maria (or Mary) like the mother of Jesus; two, she wears white and is beautiful similar to man's concept of an angel; and three she speaks of mediator (or messiah) who will come and deliver the workers from their plight. This fits with Marx again for he believed religion was used to keep the proletariat subjugated, extolling virtues such as submitting to authority, pay taxes, turn the other cheek, be happy that you are a slave, you will be rich in heaven. This is what Maria said, be patient.

I don't feel the film made it completely clear as to why the rich man wanted to use violence against the workers. I wasn't sure if this was to set an example that if they ever tried to rise up and overthrow the powers that be, they would be swiftly punished and perhaps even killed. This seemed a bit strange to me because if all of the workers were killed, who would do the work? I feel this film probably did reach many of its viewers because many probably have similar exploitative jobs. People probably do feel challenged when seeing something like this. However, I feel the problem with this film (as with most other political movies) is that they bring up a problem, complain about it, but propose no practical solution or policy alternative. At the end of the film the "mediator" or "heart" is uniting the rich man with the worker, or uniting the "brains" with the "hands." Perhaps Fritz Lang then felt that the audience would be inspired to launch myriad political reforms. I honestly don't know.

I honestly feel, for it's time, this was an extraordinary film. I feel the politics of it were expressed explicitly, implicitly, and creatively. And most importantly, this film was very entertaining. The actors were excellent and the directing was phenomenal. I do think the whole purpose of the robot/agent provocateur should have been developed more. I also didn't understand if the scientist was somehow supposed to also represent the church since his robe looked much like that worn by a monk.
See Also
📹 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. 📀