film program
09.07. at 21:15h
Summer cinema Tuskanac
Country: Denmark
1927, 153min
Fritz Lang
Brigitte Helm, Alfred Abel, Gustav Fröhlich
Drama, Sci-Fi
Official Trailer
Sinopsis: Metropolis has always been on the cutting edge it seems, presenting a thrilling and epic vision of the future when first released in 1927, a film that went on to inspire and move the films that came after it. That’s despite it being practically mauled into incomprehensibility following its premiere, drastically cut for its re-release, and re-edited even further for foreign audiences. Metropolis is the city of the future, brainchild of its founder, Joh Fredersen, who rules over a perfect idyll where the elite live lives of indolence, ease and leisure. It's a veritable Eden where the children of the Gods frolic. That's up above; down below in the undercity is where the workers toil ceaselessly to keep the city running, out of sight and out of mind of the ruling class.
Bio: Fritz Lang was born in Vienna, Austria, in 1890. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, der Spieler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received. In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.