Fritz Lang’s “Metropolis” has long been recognized as a si lent-film masterpiece and a seminal science-fiction epic, even in versions that were as much as an hour shorter than the one shown at its Berlin premiere in 1927.
Thanks to the fortuitous discovery of a 16 mm print in Argentina two years ago, 1,257 long-unseen shots (around 25 minutes) have been added to a superb 2002 restoration that was considered definitive, bringing the running time up to 148 minutes — making Lang’s very nearly complete (and quite stunning) original vision available for the first time in more than 80 years.
The spectacular “Metropolis” that begins a two-week run today at Film Forum adds several subplots that help clarify the wild story line — and extends many scenes, restoring complex cross-cutting that Lang used to ratchet up tension.
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It’s set in a futuristic city run by industrialist Fredersen (Alfred Abel), whose son Freder (Gustav Frohlich) becomes interested in the welfare of workers after he follows Maria (Brigitte Helm), a mysterious quasi-religious figure, into Metropolis’ subterranean depths.
Meanwhile, Fredersen is plotting with mad scientist Rotwang (Rudolf Klein-Rogge), who has created a robot version of Maria (also played by Helm) to lead a workers’ rebellion that the industrialist plans to put down with violence.
The extended version — the additional footage is easy to spot because it’s rather worn and a slightly different size — provides more of the extraordinary performance by the teenage Helm. As film historian Glenn Kenny recently noted, her winking, wildly gyrating robot version of Maria will evoke both Lady Gaga and Sarah Palin for contemporary viewers.
Greatly expanded are the roles of Georgi (Erwin Biswanger), who visits Metropolis’ red-light district after Freder takes his place at a power-regulating machine; and the Thin Man (Fritz Rasp), a sinister agent of Fredersen who mistakes Georgi for Freder, whom he has been assigned to follow.
The relationship between Fredersen and Rotwang is further explained in new scenes, although a sequence in which they fight is still missing, because that portion of the Argentine print couldn’t be salvaged. Also still missing, and likewise covered by titles, is a brief scene in a church, cut by Argentine censors.
But there is substantial footage added to the film’s thrilling climax, as the workers’ revolt leads to a flood in the underground city that traps their children — who are led to safety by Maria (who has escaped from Rotwang’s clutches) and Freder.
If you care at all about film, don’t miss this “Metropolis,” which features stunning cinematography by Karl Freund and, like the 2002 version, utilizes the original score by Gottfried Huppertz.