Metropolis (Fritz Lang, 1927)

[Rufus T. Firefly]

I'm sure that most people who download the compressed avi rip of the Arte broadcast won't hesitate to download the full rip of the DVD/BD once they are out and are uploaded to the usual places. [-X

The problem with sharing the workprint that will be screened on Arte is that the workprint is just as covered by copyright as the final version will be. Sharing it is no less illegal. And what are these "corporations" that are being supported here? FWMS? Transit Film? MoC? Kino? It's not like it's Warner or Fox or Disney - corporations that don't need sales of a 83 year old film to help them to survive.

Not that I would blame anyone for downloading this version of Metropolis, given the anticipation of seeing the new scenes and a film closer to Lang's original version. I'm gonna steel myself to wait for the BD though - my kevyip is turning into my personal Moloch.

[aox]

I'm sure that most people who download the compressed avi rip of the Arte broadcast won't hesitate to download the full rip of the DVD/BD once they are out and are uploaded to the usual places. [-X

That is a cynical assumption. You characterize later in your post an 83 year old film and its relation to a company (in the form of revenue). Most people interested in a 83 year old silent German film, have mostly seen it, are interested in it beyond curiosity and are likely going to buy it (even with a download anticipating it, and the version being the workcut.). Will there be people that don't? Sure. However, most people that are excited about this, already love this film that has been around for 83 years. I feel your cynicism lies in an assumed statistic.

[Richard]

It transpires the Arte Broadcast will be 1080p HD, so I apologize for being misinformed about that. And it does suggest any fileshares mght well be higher quality than usual. But who knows at this stage.

this link may be useful to non Euro viewers. I couldn't open the tvrecord url at work but it looks interesting.

I doubt that Arte will broadcast the movie in 1080p. As far as I know no European broadcaster uses 1080p. It will probably be 1080i.

There is some video up on the Arte-website btw. You can find it on http://www.arte.tv/de/3055836.html#5" onclick="window.open(this.href);return false;

About 40 minutes until the broadcast. Unfortunately 'only' in SD for me.

[HarryLong]

I doubt KINO is actively monitoring this forum

I think if you go a few pages back in this very thread you'll find that Rodrigo Brandao of Kino popped in for awhile... and the only explanation was that he was googling & found out about a discussion of KIno going on here.

[nsps]

Arte's livestream from Berlinale isn't blocked for Americans, but sadly consists of a wideshot of the screening area, with the film taking up about a sixth of the screen. Even in HD, it ain't easy to see.

[marknyc5]

There is some video up on the Arte-website btw. You can find it on http://www.arte.tv/de/3055836.html#5" onclick="window.open(this.href);return false;

Omigod, it looks fantastic! Far better than I expected from the frames we had been shown.

I need to see this NOW!! It's cruel to make us wait months!

[Saturnome]

The streaming:

There's even some car engines over the music.

[accatone]

Mmmmpf...errr, judging from my couch with some Cotes du Rhone in hand, doesn't look too bad...Cheers!

[Richard]

A few impressions based on the standard definition tv-broadcast:

It has been a while since I have seen the DVD, but the movie sure looks amazing. I am not sure what more work they did after the previous restoration (if any) but it is incredible how sharp the picture is. The HD version should be something to look forward to.

The "added" bits where clearly recognisable as they have some obvious vertical damage lines and are very fussy. It did not distract me from the movie as a whole though. There are a number of dvd-releases of prominent silent films that are about as bad. And maybe the feeling of how great it is to finally see the complete film sort of cushioned it.

I do wonder if they could have cleaned it up a bit more. The damage is very "systematic" and I would imagine it being possible to filter it digitally. But I am no expert and my guess is that people of the Murnau Stiftung knew what they where doing. I do hope that they take another look at it in the future. With technology improving every year I doubt that the next DVD/BD-release of Metropolis will be the last one.

I was surprised to see that the added material actually consists of quite a bite more than what was made visible in the current DVD-release. I thought it was going to be few major scenes, but there where quite a lot of much shorter bits and pieces that where added. the added stuff is really all over the movie.

I hope that a future Blu-ray features the live version of Huppertz's score that they where playing tonight. I love the version that is on the current DVD, but hearing it being played live was even better. It is such a great score.

One last note: the broadcast had some shots from the hall during the showing of film. It wasn't too distracting though, as it happened mostly during breaks in the film.

[Tommaso]

Have just watched it, and must simply say: WOW!

Apart from the re-institution of two extended sequences with Fritz Rasp, there are indeed several tiny bits here and there which much help to change the pacing of the film. It simply feels 'right' now, with a good 'breathing' between moments of relaxation and utter tension, whereas the version hitherto known always felt a bit hurried in comparison (for the record: this transmission still seemed to run at 24 fps, which I consider too fast, but anyway). But what really blew me off my socks were the additions in the revolt/flood scene: we see the fake Maria lead the revolt in a much extended way, and also the rescue of the children by the real Maria becomes much more dramatic. Same for the fight between Freder and Rotwang on the roof of the church. All this makes the suspense near the end almost unbearable, especially as we now see some hitherto lost 'dramatic' parallel montages. Mindblowing, I must say.

As to the image quality: the Buenos Aires bits are what they are, and that means: they look deplorable, though they have already undergone restoration, as the documentary that was shown after the film clearly evidenced. But it doesn't matter much, at least we now have a far better idea of what the film was like originally (there are still some bits missing, mostly from the fight between Rotwang and Freder's father which results in Maria's escape, which is still only re-told via intertitles).

The image quality of the broadcast in the scenes we already knew was definitely less good than on the Transit/MoC disc (mostly in terms of sharpness and blackness levels, though I have to judge from analogue cable), so I suppose that a forthcoming dvd/blu-release will constitute a clear improvement here. Just to appease those who really believe anyone would want to bypass a forthcoming official release because of files floating around...

But for the moment: absolutely amazing, really.

[marknyc5]

I couldn't watch the broadcast, but based on the clip at ARTE's site, I think a lot was done! The initial frame grabs were far worse - virtually unwatchable. Remember, this was a dupe of a scratched print, so no wet-gate printing could be done.

[Tommaso]

Yes, absolutely true. There was a new documentary after the film in which Koerber was interviewed and he said that he never ever in his life had come across such 'destroyed' (his word) material as this Buenos Aires print. A few brief comparison sequences proved his point, too. What we saw in the arte broadcast was definitely already the cleaned-up version, basically free of the most ugly scratches and dirt, though still rather unsharp and graced with tramlines that made the Kino print of Dulac's "Coquille" look like a pristine negative...

So I clearly don't believe this will be improved upon on a dvd/blu release, but I bet that the whole sharpness and contrast issues of the known materials in the broadcast version will be brought back to what we know from the 2001 resto on dvd.

And David: Fritz Rasp has certainly become one of my favorite actors in the last few years, not just for "Spione", but ultimately for his amazing performance in the 1931 "Emil und die Detektive". Run don't walk, if you have not seen this, and get it. But I find it funny, though not actually surprising that that man who always seems to have played the arch-baddy was apparently described by everyone who knew him as the most friendly and gentleman-like person in real life. But both in life and on film, he always exuded incredible style, even if it was of the more sinister kind on screen.

[marknyc5]

Watch this clip:

http://www.arte.tv/de/3055836.html#8

At 11:05 there's an amazing example of the restoration. There's no way they could do any more!

[colinr0380]

But what really blew me off my socks were the additions in the revolt/flood scene: we see the fake Maria lead the revolt in a much extended way, and also the rescue of the children by the real Maria becomes much more dramatic. Same for the fight between Freder and Rotwang on the roof of the church. All this makes the suspense near the end almost unbearable, especially as we now see some hitherto lost 'dramatic' parallel montages. Mindblowing, I must say.

I only watched the live streaming event last night but it was amazing to see some very familiar sequences extended and the meaning of them slightly modified. I noted the far more extended love at first sight scene between Freder and Maria after the Tower of Babel scene (which was slightly disturbing in itself to see projected onto the side of the Brandenburg Gate!), and seemingly much more emphasis on the religious aspects, along with an interesting use of the call back to a previous intertitle at the end of the scene of robotic Maria's sexy dance at the club anticipating her final pose on top of the statue, the inserts increasing the impression of the sequence being an expression of Freder's feverish state built up through elements that have been previously noted.

Also the escape from the flooding city makes a bit more sense now that a locked gate at the top of the stairs has to be battered open. It felt a bit too easy before and smashing the gate down feels like the legitimate use of such force compared to the earlier, more large scale, rampage of the workers.

I can't wait to see the restored version for closer study, though at the same time I'm quite glad that I still have copies of the previously restored version, not to mention the Moroder-scored version ( ), that are the ones that I've had the long term relationship with, just for sentimental purposes.

Tommaso's comment on dramatic parallel montages reminds me of how much I love the construction of the film. I'm rather slow on picking up on these aspects but one of the things that I liked on watching the film again last night was the use of a figure in the mid centre of the screen being approached by a trianglular mass of people, with the 'point' of that triangle directed squarely at them - the finale of the Tower of Babel scene is the most obvious example, but there is also the ending and Grot facing down the workers while trying to protect the machine or the greater ideal, all three sequences are similar imagery used for contrasting purposes.

One of the fascinating aspects of the film is that the power of idealism, religiosity, uprisings, even love are not inherently good or bad - these guiding principles can always be twisted by loss and grief, or diverted for alterior motives. These powerful, emotionally driven forces can enlighten or cloud judgment, subjugate and allow hedonistic behaviour, or give opportunities for displays of selflessness and sacrifice depending on who uses them. I still find that final 'mediator between the head and the hands must be the heart' scene fascinating - it can feel a pat solution to the intense anger and cynicism displayed by the unthinking labourers towards the feckless ruling classes in the rest of the film, but then there is that incredible sense of irony just under the surface on further reflection as the cracks are papered over - for now. The only other scenes that come to mind as being so superficially conclusive with regards to their characters and yet slightly unsatisfying and left open for ironic and disturbing interpretations would be either the ending of Contempt or the psychiatrist's explanation of motivations from Psycho.

[Tommaso]

And now, ladies and gentlemen:
ENTER FRITZ RASP!



Sorry, couldn't resist (I was on the verge of changing my avatar for this...).

[HerrSchreck]

I'm glad to see you guys dig Rasp as much as I always have... I always thought it was unfortunate the way Rasp always wound up playing lech after lech (in for example the Pabst silents Jeanne Ney, and Diary of a Lost Girl), though the Lang silents allow him a bit more depth (as did Dreigroschenoper.. forgive my spelling, it's early in NYC.. well, before 10am).

Rasp was fabulous.

[Brianruns10]

Ditto on Rasp. I haven't yet seen the entire film, but the scene ARTE posted online, the one with The Thin Man capturing Georgy (and later meeting Josaphat) was amazing! He's definitely one of the creepiest characters I've seen. Just look at how he tips his hat to Josaphat, or the way he grips and twists Georgy's arm.

He almost acts like a robot himself!

And I've arrived at another realization: despite the fact that she's trying to destroy the city, I've gotta say I like the Robot Maria better than the real one! That winking eye, that evil smirk, the way she tears at her clothing. Freder can keep the real one, I'll take the bot! Rrrrrraaaaw!

[Tommaso]

While I also like Helm better as the bad girl normally, I would mention her far more differentiated role in Hanns Schwarz' magnificent "Nina Petrowna" as her best performance perhaps , even though she there also causes the downfall of men, but in a more 'tragic' way. A very Ophulsian film avant la lettre. And you guys remind me that I still have to get Hartl's "Gold" out from the olde kevyip....

[petoluk]

A couple of caps from the Arte HD broadcast can be seen @ this Czech board (the post from 22:47). There's also a matching cap from the Moc DVD...

Cheers!
Peto

[marknyc5]

Just downloaded and watched it. I'm surprised how many of the new scenes are just trims, apparently to shorten the running time or pick up the pace. Love the section with Georgy at Yoshiwara!

Spoiler

Also love that they cut out Robot Maria taking off her garter, and the one man shooting the other. But I can see why they took out the stuck door with the kids and the flood - it goes on forever.

I also love Rasp - what a mistake to lose him!

The quality of the new scenes is worse than that of the clip they posted, which was so compressed it hid most of the scratches. Some scenes, particularly near the end, are horrible - didn't the projectionists in Argentina ever clean their gates? Yipes.

All the press said only one short scene with a monk was missing, but it appears another significant chunk is also missing, which is described in this title card:

Maria is not the only one listening to Rotwang. Oustide the attic window Joh Fredersen has been eavesdropping. Joh Fredersen breaks into Rotwang's attic. He battles with his old rival, overcoming him. Maria is free.

You can see the end of the battle as a shadow on the wall in one shot of Maria, but that's a pretty significant section that remains missing, apparently.

Here's my rough translation of the new title cards - can a native speaker improve them?

Spoiler

In the pulpit Freder sees a monk, who preaches: "Verily, I say unto you: the Day approaches, of which the Apocalypse tells!"

The monk holds a Bible, in which is written:

And I saw a Woman sitting upon a scarlet coloured Beast, that was full of names of Blasphemy, having seven Heads and ten Horns. And the Woman was arrayed in Purple and Scarlet and had a golden Cup in her hand. And upon her Brow was written a Name, a Mystery: BABYLON THE GREAT, the Mother of all Abominations of the Earth. And I saw the Woman drunk with the Dlood of the Saints.

The Thin Man to Georgy (in car): Where is he, whose clothes you wear?

Freder to Josaphat: Will you please wake Georgy? He must drive me at once to the Worker's City...

Thin Man to Gerogy: Nr. 11811, you will return to the Machine and forget that you ever left it – understand?

Freder: I must have someone who is loyal to me, Josaphat – how else can I reach the end of my Journey – ?!

I must continue, Josaphat – must now look only to the People, to whom Georgy pointed the way ...

This evening, Josaphat – this evening, when I return...

The Thin Man to Josaphat: So, what price do you ask in order to leave this house this evening?

You do not seem to have understood, on whose behalf I am here ...

This man does not wish that his son be found here this evening!

In three hours I'll come for you!

Rotwang's note to Joh Fredersen:

She is the most perfect and obedient tool that ever a man possessed! Tonight you'll see, as she is unveiled before the eyes of the top hundred. You'll see her dancing...

Freder's apparition in bedroom:

Verily, I say unto you: the Day approaches, of which the Apocalypse tells ...!

All Seven Deadly Sins for her sake!

The Thin Man to Joh Fredersen: The only thing keeping the workers in check is that they still wait for the Mediator that was promised to them...

Freder to Josaphat: Now many go into the City of the Dead, to which they have been as loyal as Gold.

In doing so, the Mediator should not be missing...

Joh Fredersen to the Thin Man: Whatever happens tonight: it is my expressed order, to allow the Workers to leave...

Robot Maria: Away from the Machines – ! Let them speed to Death – !

To the Heart Machine!

Rotwang to Hel's statue: Now I go, to bring you home, my Hel – !

[jsteffe]

I'm holding out for the Blu-ray or a theatrical release of this baby--I want to see the new restoration in the best possible form. But david hare's rhapsodic declaration of love has me more excited than ever to see it!

Let's hope that we get the full orchestral score--possibly even a recording of the live performance that accompanied the broadcast.

[markhax]

Just downloaded and watched it.

I've seen two posts referring to downloading it, but no link. WHERE????

[Tommaso]

I had downplayed myself, then answered myself back and then calmed down, and then tried to ensure I wouldnt get emotional, but that fucking opening cutaway from the desk vision to the live broadcast and the Full orch grumphhhphlumping up for the credits with the Score, at the Brandenburg Gate broke me down totally.......The hairs had started rising on the neck, if only reacting to the stunning audio they've collected for this - best balance of a live score EVER - and then the tears just flooded.

I had actually stayed quite calm until a few days before the broadcast, but then the growing excitement here and elsewhere took its toll on me. But then my fear arose when I watched the introduction from Berlinale in which they already showed some very brief moments, but in a 16:9 ratio. This didn't even change when the conductor arrived on stage and I was on the verge of completely breaking down.... but then, thankfully when the credits began to roll, they switched to 4:3 and I could finally open that bottle I had prepared for the celebration. What a relief!

And yes, it felt like a totally different film, not just because of the Rasp sequences (though when that shot appeared that I posted above I also got wet eyes immediately), but because of the whole pacing feeling much better now. I disagree with marknyc about the children and the flood gate, btw. I think the sequence is much more exciting now than before; at least it caught me like the proverbial rabbit before the snake...

[Peacock]

So is the hallucination scene with Freder in bed and the monk standing in front of him now there? This is the part I wanted the most when I first saw the MoC disk.