Metropolis

Together with Kubrick's 2001: A Space Odyssey, this the most visually perfect and aesthetically-refined film I know. Fritz Lang was able to give his monstrous work the perfect appearance, and despite the aging technologies the result had not lost its magnetism and suggestiveness even a little bit - on the contrary, the special old veneer only intensified the functionalist precision and Gothic expansion of shapes. True, the presentation of the content has aged somewhat, but the "midpoint between the brain and the hands must be the heart" factor is extremely urgent and topical as a result. The excellent visual aspects strengthen the plasticity of the environment – on the one hand, the almost ritual environment of the industrialized heart of the city, on the other the modern and luxurious gloss. The drama of the conflict between the proletariat (the underground core of the city) and bourgeoisie (the cream of society on the surface, led by the unscrupulous Joh Fredersen) is spread out for the current viewer on a very extensive area, but the constant invention and image precision, which, with its composition and shape concern clearly references the supreme expressionism, appeals to the viewer's enjoyment and teases the cells that can only be stimulated by a real film delicacy. Metropolis is formally an absolutely perfect film, which contemporary fast-paced artists, who lack even a hint of art despite the hi-technologies, can only look upon enviously. It is also a film that has a clear and convincing message. Both of these components form an ageless gem, which I like more and more after each viewing, and to which I feel an ever deeper respect. (03/04/2006)

An incredibly megalomaniacal spectacle for its time, which even after all these years has lost almost nothing of its impressiveness. The scenes with hundreds of extras are absolutely chilling, and the effects, though nowadays understandably outdated, are very believable and monumental. Moreover, even the story is interesting enough and, although the shortened version lasts a full two hours, it doesn't bore for a moment, which is quite rare in a silent film that doesn't use grotesque humour (of course, in today's terms). In short, a legend and cornerstone of modern science fiction and a complete visual orgasm for lovers of expressionism. (12/08/2013)

Fritz Lang realized the power of film, which is not only in the sound and dialogue. Many contemporary films rely on that. Since Lang began directing at a time when sound films did not yet exist, he understood this fact very well. The main thing that always captivates in a film is the image. And so he created a visually stunning spectacle that is capable of leaving one breathless even after almost 90 years. I had been anticipating this film for more than ten years. Finally, the time has come. And I realized that even at the beginning of film history, they knew how important the image is, but they also knew that it is necessary to tell something. And possibly criticize as well. An incredible vision of the future, which is a strong criticism of society, but also of the individual. Today's audience may not fully appreciate the expressionistic portrayal of actors, which is heavily theatrical, yet "Metropolis" should be a film that people watch just to see what film art is really about. (10/01/2014)

A magnificent and at the same time melancholic sci-fi, which would stand out today both in terms of its subject matter and its execution. It is gripping at times, sometimes humorously eccentric, but undoubtedly functions as one of the fundamental pieces of cinematography. However, one cannot help but be disappointed with the two-hour version. It is a bit sad to know that the original director's cut was much more generous. (03/04/2006)