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Metropolis Director: Fritz Lang Live Score: The New Pollutants Rated: G Greater Union, Sun 20 Feb Undeniably among the classics of silent cinema, 1927's 'Metropolis' remains the most expensive German movie ever made, in real terms. Fritz Lang's original cut didn't survive and as a result there have been many incomplete versions of the film released over the decades. To be honest, I very nearly nodded off in parts last time I watched 'Metropolis' on video. The version I saw was an older one that didn't flow very well. This 75th anniversary restoration features a number of intertitles that describe what happened in the missing footage, including scenes and subplots I hadn't seen before. All of this helps make much more sense of the narrative, and also helps gives depth to characters that seemed weaker before. The film is rich in iconic and influential imagery. Freder (Gustav Froelich) working the clock-like machine stands out, as does the mad scientist Rotwang (Rudolf Klein-Rogge) creating a robotic version of heroine Maria (Brigitte Helm). The machine that Maria lies in is obviously referenced in 'The Fifth Element', and likewise the cityscapes and architecture made a massive impact on 20th century culture. 'Metropolis' remains absolutely thought provoking, exploring ideas of exploitation, class, and the use of violence. Besides the new restoration, there was another reason to come out and see this screening of 'Metropolis'. Normally, I'm inclined to dance when Mr Speed and DJ Tr!p are performing in front of me live. However, if you've heard any of The New Pollutants recordings, the choice to have them produce a new score for 'Metropolis' is logical. It's easy to imagine their music describing the machinery of a working class society. Initially, it was a little distracting having live performers to watch underneath the screen, but my attention quickly turned to the film. Cellist Zo‘ Barry added intensity to The New Pollutant's tasteful soundtrack, and Astrid Pill's atmospheric vocals impressed. Contemporary big beats surfaced during the scenes of the hedonistic society above ground, but even then the music never seemed out of place. Instead the score integrated itself skilfully, and while extremely memorable, it didn't compete with the film for attention.  |
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