Metropolis
(1927)
1.33:1
Dolby Digital 5.1
Surround Sound
Kino on Video,
$29.95
Despite its status as an enduring and popular classic of silent
cinema, Metropolis has not been seen in its original form since
January of 1927, when it premiered at a length of 153 minutes
at the Ufa Palast theater in Berlin. Weeks after this unveiling,
the film's American and German distributors, Paramount Pictures
and UFA, chopped Fritz Lang's sci-fi epic down to a "normal" feature
length for its U.S. release. Tragically, more than a quarter
of the total footage was lost, and since then the picture has
been screened in various versions and lengths - some of which
have drastically altered or omitted key segments of the plot.
With
this essential DVD, however, Kino on Video presents a comprehensive
digital restoration that was supervised by the Murnau Foundation,
which holds the original copyright to Metropolis. Footage was
combined from the best existing versions (including a nitrate
original camera negative and original nitrate prints), and
state-of-the-art digital techniques were used to eliminate traces
of damage and
ensure that the look would remain consistent from scene to
scene. (Minimal artifacts and image flicker are still evident,
but overall
the picture boasts remarkably good quality.) In addition, the
original 1927 score by Gottfried Huppertz was rerecorded by
a full orchestra so it could be added to the 35mm negative.
The
results of this restoration were considered so significant that
UNESCO made the revived Metropolis the first film listed
in its "Memory of the World" register, alongside such
momentous works as Beethoven's Ninth Symphony and the Gutenberg
Bible. The picture's influence has certainly been considerable
- particularly within the science-fiction genre, where echoes
of Metropolis are plainly evident in a slew of subsequent films.
Indeed, Lang's timeless, symbolically biblical theme of an oppressed
underclass rising up against its domineering masters has been
revisited in such modern classics as Star Wars, Blade Runner
and The Matrix.
Helping Lang to achieve his lavish spectacle were
cinematographers Karl Freund, ASC and GŸnther Rittau, special
effects expert Eugen SchŸfftan, and top artisans from all
of the other filmic disciplines. The director's grand vision
of a futuristic
city and its underlying labyrinth, achieved through a brilliant
blending of ingenious techniques (including forced-perspective
miniatures, mirror tricks and stop-frame animation, among many
others), is still a wonder to behold. The effects have retained
their dazzle, and the central conflict of the narrative is perfectly
captured in the photographic contrast between the titular city's
luminous, elegantly rendered "upper class" environments
and the smoky, dungeon-like realm where glum workers toil with
mechanical obedience. Of particular note are the crowd scenes,
during which Freund and Rittau used their lighting to create
strange, eerie shadow patterns on walls. (On the subject of lighting,
Lang himself maintained that "light and shadow should not
only be used to convey a mood, but should also play a decisive
role in the action.")
Kino's DVD does an excellent job of
putting this classic in historical context with a variety of
special features. A solid 43-minute
documentary, The Metropolis Case, explores the film's Expressionist
roots while also offering many details about the production
itself. (Shot over 310 days and 60 nights at the UFA Studios,
the film
cost 6 million Deutschmarks, exceeding its initial budget by
4.5 million marks. We also learn that Lang's conception for
the film was inspired by his first view of New York's towering
skyscrapers
during a visit to the U.S.)
Equally fascinating is a featurette
on the restoration process, which presents before-and-after,
side-by-side comparisons of
photochemically and digitally repaired footage. The digital
restoration, performed by Alpha-Omega of Munich, involved three
steps. First,
special software was used to reduce small dust artifacts and
scratches; next, previously unsteady scenes were stabilized;
and finally, a computer-aided manual retouching was used on
all scenes to eliminate major defects, such as glue around the
splices,
dirt, scratches and torn frames. The film was then re-output
to 35mm negative film stock by Centrimage Paris. (In an onscreen
interview, film preservationist Martin Koerber also explains
that new intertitles were added to describe lost scenes at
appropriate junctures.)
Rounding out the informative extras are an audio commentary
by historian Enno Patalas, who provides a helpful but occasionally
obvious analysis of the film; photo galleries offering production
stills, shots from missing scenes, architectural sketches and
poster artwork; and cast and crew biographies.
Simply put, this
resplendent new Metropolis is a mandatory addition to any cinephile's
DVD collection. - Stephen Pizzello
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