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Metrópolis

Título original: Metropolis
  • 1927
  • A
  • 2h 33min
CALIFICACIÓN DE IMDb
8.3/10
196 k
TU CALIFICACIÓN
POPULARIDAD
1,898
71
Brigitte Helm in Metrópolis (1927)
Metropolis Trailer
Reproducir trailer2:01
2 videos
99+ fotos
Ciencia FicciónCiencia ficción distópicaDramaÉpicaÉpica de ciencia ficciónSteampunk

En una ciudad futurista dividida entre la clase trabajadora y los planificadores de la misma, el hijo de un magnate se enamora de una profeta que predice la llegada de un salvador.En una ciudad futurista dividida entre la clase trabajadora y los planificadores de la misma, el hijo de un magnate se enamora de una profeta que predice la llegada de un salvador.En una ciudad futurista dividida entre la clase trabajadora y los planificadores de la misma, el hijo de un magnate se enamora de una profeta que predice la llegada de un salvador.

  • Dirección
    • Fritz Lang
  • Guionistas
    • Thea von Harbou
    • Fritz Lang
  • Elenco
    • Brigitte Helm
    • Alfred Abel
    • Gustav Fröhlich
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    8.3/10
    196 k
    TU CALIFICACIÓN
    POPULARIDAD
    1,898
    71
    • Dirección
      • Fritz Lang
    • Guionistas
      • Thea von Harbou
      • Fritz Lang
    • Elenco
      • Brigitte Helm
      • Alfred Abel
      • Gustav Fröhlich
    • 596Opiniones de los usuarios
    • 224Opiniones de los críticos
    • 98Metascore
  • Ver la información de producción en IMDbPro
  • Película con mejor calificación n.º 119
    • Premios
      • 7 premios ganados y 6 nominaciones en total

    Videos2

    Metropolis
    Trailer 2:01
    Metropolis
    'The Platform' & Future Films From the IMDb Top 250
    Clip 4:04
    'The Platform' & Future Films From the IMDb Top 250
    'The Platform' & Future Films From the IMDb Top 250
    Clip 4:04
    'The Platform' & Future Films From the IMDb Top 250

    Fotos181

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    Elenco principal33

    Editar
    Brigitte Helm
    Brigitte Helm
    • Maria…
    Alfred Abel
    Alfred Abel
    • Johann (Joh) Fredersen
    Gustav Fröhlich
    Gustav Fröhlich
    • Freder Fredersen - Joh Fredersens Sohn
    Rudolf Klein-Rogge
    Rudolf Klein-Rogge
    • Erfinder C.A. Rotwang…
    Fritz Rasp
    Fritz Rasp
    • Der Schmale…
    Theodor Loos
    Theodor Loos
    • Josaphat…
    Erwin Biswanger
    • 11811 - Georgy
    Heinrich George
    Heinrich George
    • Grot -Wärter der Herzmaschine…
    Fritz Alberti
    Fritz Alberti
    • Schöpferischer Mensch
    • (sin créditos)
    • …
    Grete Berger
    Grete Berger
    • Arbeiterin
    • (sin créditos)
    • …
    Olly Boeheim
    • Arbeiterin
    • (sin créditos)
    • …
    Max Dietze
    • Arbeiter
    • (sin créditos)
    • …
    Ellen Frey
    • Arbeiterin
    • (sin créditos)
    • …
    Beatrice Garga
    • Frau der ewigen Gärten
    • (sin créditos)
    • …
    Heinrich Gotho
    Heinrich Gotho
    • Zermonienmeister
    • (sin créditos)
    • …
    Dolly Grey
    Dolly Grey
    • Arbeiterin
    • (sin créditos)
    • …
    Anny Hintze
    • Frau der ewigen Gärten
    • (sin créditos)
    • …
    Gottfried Huppertz
    • Man Playing Violin
    • (sin créditos)
    • Dirección
      • Fritz Lang
    • Guionistas
      • Thea von Harbou
      • Fritz Lang
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios596

    8.3196K
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    Resumen

    Reviewers say 'Metropolis' is a groundbreaking science fiction film that delves into class struggle, technological dangers, and social harmony. Its innovative visual style, special effects, and set design have inspired films like 'Blade Runner' and 'Star Wars'. The dystopian city depiction and commentary on labor and consumerism remain impactful. Celebrated for its cinematography, editing, and symbolism, 'Metropolis' stands as a key work of German expressionism, though some find its pacing and narrative dated.
    Generado por AI a partir del texto de las opiniones de los usuarios

    Opiniones destacadas

    8Coventry

    So old…and yet so futuristic!

    Fritz Lang's groundbreaking landmark remains one of the biggest mysteries in the world of cinema. How can a movie that'll soon turn 80 years old still look so disturbingly futuristic?? The screenplay by Thea Von Harbou is still very haunting and courageously assails social issues that are of all ages. The world has been divided into two main categories: thinkers & workers! If you belong to the first category, you can lead a life of luxury above ground but if you're a worker, your life isn't worth a penny, and you're doomed to perilous labor underground. The further expansions and intrigues in the screenplay are too astonishing to spoil, so I strongly advise that you check out the film yourself. It's essential viewing, anyway! "Metropolis" is a very demanding film-experience and definitely not always entertaining. But, as it is often the case with silent-cinema classics, the respect and admiration you'll develop during watching it will widely excel the enjoyment-aspect. Fritz' brutal visual style still looks innovative and few directors since were able to re-create a similarly nightmarish composition of horizontal and vertical lines. Many supposedly 'restored' versions have been released over the years (in 1984 and 2002, for example) but the 1926-version is still the finest in my opinion, even though that one already isn't as detailed and punctual as Lang intended it. "Metropolis" perhaps is THE most important and influential movie ever made. "2001: A Space Odyssey", "Star Wars" and "Blade Runner" owe their existence (or at least their power) to it.
    9ignatz928

    Watch the Kino DVD!

    Technically speaking, I have seen this Fritz Lang silent sci-fi before, but this was the first time I saw it in any shape by which I could fairly evaluate it. I had previously watched Metropolis on a public domain VHS from the 80s. The print was terribly scratched and while there were a few memorable images, the story was so incoherent that their context was usually unclear. Though this was clearly not the best way to see Metropolis, I was still left with an impression of this supposed classic as a dusty museum piece that was praised by critics because they were expected to like it. So finally seeing a restored and expanded copy was as much as a revelation as seeing Once Upon a Time in the West letter boxed in how it led me to reevaluate my opinion of the movie. The movie is a strange mixture of political speculation political parable, apocalyptic fantasy, and religious allegory. It depicts a futuristic city that is divided between the wretched workers, who toil in the depths tending the machines, and the upper classes, who dwell in luxury up in the skyscrapers. The hero, the idle, pampered son of the city's supervisor Joh Fredersen, changes his ways and becomes concerned with the plight of the lower classes after catching a glimpse of Maria, the Madonna of the workers. His father, meanwhile, is plotting to thwart Maria with the help of the mad scientist Rotwang, who has discovered how to create robot replicas of human beings. One of the most surprising things about watching this version is just how much I didn't see. In addition to restoring scenes to the film, the DVD also includes inter titles to explain pieces of the plot that cannot be found in any version. With these changes, the story becomes much clearer, particularly the machinations of Rotwang and the master of Metropolis. Perhaps most importantly, a whole new subplot is added involving the hero's dead mother Hel, who was loved by both his father and Rotwang. With this clarification of the back-story, the close but adversarial relationship between Rotwang and Fredersen becomes much clearer. In some ways it recalls the family back-story of the Star Wars movies. Of course, the real strength of Metropolis isn't the story, which is pretty silly and probably wouldn't have worked in anything but a silent film, but its amazing visuals, which in their scale and ambitiousness look forward to 2001 and Blade Runner. Actually, though in most respects silent films now look primitive, one area in which they have the edge over modern film-making is in their frequently grandiose production design. Metropolis employs huge sets to show the hellish factories of the subterranean world. The models of the city's towering skyscrapers are also surprisingly convincing for a 1920s film. Even beyond the expansive production design and (for the time) special effects, Lang's visuals are all consistently inventive. The robot Maria provides some of the movie's most iconic images, including her transformation into a human being. In a later scene, she performs for upper-class men in a nightclub, and as she performs a striptease that in 1920s Germany was apparently seen as very decadent, the screen is filled with wet staring eyeballs. A sign of Lang's visual lavishness, and the studio's, that he doesn't hesitate to throw in lavish dream and hallucination sequences to drive home a point or illustrate a character's state of mind. For instance, when the hero first enters the subterranean city and sees rows upon rows of workers toiling on huge machines, he imagines the furnace transforming into a monstrous idol's head into which the workers are being sacrificed. At another point, while he's sick in bed he imagines statues of the Seven Deadly Sins coming to life and advancing out from a wall in a cathedral. When Maria preaches her message of peace and understanding to the workers, she tells them the story of the Tower of Babel of a management vs. labor parable, and Lang gives us spectacular images of the tower's construction and fall. In a sound film many of these scenes would have seemed redundant and over-literal, but they're what silent cinema does best -tell a story without the advantage- or obstacle- of dialogue. The story is a little slow to start, but once it picks up Metropolis becomes one of the most directly involving silent films that I've seen. In addition to being a pioneering example of the cinematic possibilities of science fiction, Metropolis also has to be one of the earliest disaster films, as the workers riot and sabotage the machines, endangering the entire city. Lang creates a sense of rising fury and nihilism in the last hour that in a strange way reminded me of what was going to happen to Germany in less than 20 years.
    10Anonymous_Maxine

    Early science fiction story that presents a pessimistic prediction of a future society.

    Who ever heard of an epic science fiction film? Especially in the 1920s? Sure, some science fiction movies are huge today, such as George Lucas' latest goofy Star Wars movie, but in 1926, Fritz Lang came out with a brilliant film about what the future would be like if people went on living the way they were living back then. And sure enough, we went right ahead living the way we were living, the population got bigger and more crowded, and now modern society is not a whole lot different from what was presented in Metropolis.

    The story is about a young rich kid without a care in the world who becomes concerned about the way that society (Metropolis) was run by his father, John Frederson, the master of Metropolis. He lives in a ‘Pleasure Garden' high above the level of the workers', and he worries about what would happen if the huge number of workers were to turn against his father, given the terrible conditions under which they live and work. Some of the best scenes in the film take place in the underground mines, showing the workers portrayed as little more than components on a gigantic, sinister looking machine. The scene where the machine overheated even contained some impressive stunts, as well as interesting cinematography as the machine transforms into a giant devil-looking monster. After countless workers are consumed by it (no wonder this was Hitler's favorite film), they are immediately replaced by other workers, who go right to the same spots that the previous men left and resume their robotic movements. If some of these scenes, men can be seen being carried away on stretchers after having been injured, and the rest of the workers keep right on working, hardly even noticing.

    The way that the workers are portrayed as lifeless machines is one of the more potent elements of this film, as well as the most revealing about the directors intentions. When his son complains about the tragic things that go on in the mines, Frederson replies that such accidents are unavoidable, but his son still insists that they deserve credit for building the city. This is the kind of content that foreshadows some serious mutiny, and at the same time it shows what may very well happen when large groups of people feel mistreated. `Never underestimate the power of stupid people in large groups' is a saying that doesn't necessarily only apply to stupid people, as Metropolis suggests. Fritz Lang brilliantly portrays this very complex story with extremely limited dialogue, and the result is still compelling today. The special effects in this film are decades ahead of its time – it even resembles The Fifth Element in many ways (except that the two films can hardly be compared) – and the acting and especially the elaborately created sets are stunning to say the least. An excellent film, Metropolis is one of the few that should never be forgotten.
    9PIST-OFF

    The father of sci-fi cinema.

    Silent movies are not for everyone. Neither are subtitles. Those brave enough to view a movie with no sound and words that are far and few between should definitely enjoy this silent masterpiece. One of the biggest productions of its time, Metropolis still holds its own when set design and special effects are compared. But what Metropolis really has is orginality. This German-Expressionist film had such originality in everything from its costumes to its views of a future (modern) city that its ideas can still be seen everywhere in modern sci-fi. Star Wars's C-3PO was based on Bridgette Helm's robot. Dark City and Brazil both have Metropolis look-a-like cities. This is a very good movie. It's too bad most movies don't have its originality.
    10Bockharn

    Restored Kino DVD changed my view of this film.

    I doubt that I'd ever seen anything resembling a "complete" version of METROPOLIS before, though certain of its scenes were familiar to me, if only as used and abused in such films as Diane Keaton's HEAVEN (1987). In any case, whatever I had seen before had nothing like the clarity and beauty of the Kino restoration. I expected to be distracted by the restoration's technique of concise written descriptions of missing sequences, but the narrative coherence that these provided was definitely worth it. As "exaggerated" as the style of acting seems by contemporary standards, some performances, such as the Master of the city, are amazingly nuanced and layered, and Brigitte Helm is stunning as both Maria and her evil clone. The meticulous design of the film, the unerring camera placement and Lang's muscular choreography of the crowd scenes are breathtaking. I'd thought of METROPOLIS as a curiosity ("important" = "dull") but now I've come to appreciate it as the seminal work it has always been.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Unemployment and inflation were so bad in Germany at the time that the producers had no trouble finding 500 children to film the flooding sequences.
    • Errores
      When Freder and Josaphat are climbing down into the miner's city, Freder is barefoot. When they are taking the children up the stairs, he has shoes again.
    • Citas

      Maria: HEAD and HANDS need a mediator. THE MEDIATOR BETWEEN HEAD AND HANDS MUST BE THE HEART!

      Worker #1: But where is our mediator, Maria - ?

      Maria: Wait for him! He will surely come!

      Worker #2: We will wait, Maria...! But not much longer - - !

    • Créditos curiosos
      Restoration based on the version in the Filmmuseum Munich and material preserved in the Bundesarchiv-Filmarchiv
    • Versiones alternativas
      A version restored by the German Democratic Republic in the eighties runs 115 minutes (still shown on German TV sometimes).
    • Conexiones
      Edited into Il volo (1975)

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    Preguntas Frecuentes

    • How long is Metropolis?Con tecnología de Alexa
    • Is "Metropolis" based on a book?
    • How did they shoot the rings around the machine when it was transforming into the guise of Maria?
    • What are the differences between the 2001 Restoration and the 2010 Restoration?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 6 de febrero de 1927 (Francia)
    • País de origen
      • Alemania
    • Sitio oficial
      • Official North American site for 2002 restoration
    • Idiomas
      • Alemán
      • Inglés
    • También se conoce como
      • Metropolis
    • Locaciones de filmación
      • Berlín, Alemania
    • Productora
      • Universum Film (UFA)
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • DEM 6,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 1,236,166
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 19,386
      • 14 jul 2002
    • Total a nivel mundial
      • USD 1,353,679
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 33 minutos
    • Mezcla de sonido
      • Silent(original release)
    • Relación de aspecto
      • 1.33 : 1

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