Metropolis (1927) 720p YIFY Movie

Metropolis (1927)

In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.

IMDB: 8.31 Likes

  • Genre: Drama | Sci-Fi
  • Quality: 720p
  • Size: 1.24G
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 153
  • IMDB Rating: 8.3/10 
  • MPR: Normal
  • Peers/Seeds: 22 / 131

The Synopsis for Metropolis (1927) 720p

Sometime in the future, the city of Metropolis is home to a Utopian society where its wealthy residents live a carefree life. One of those is Freder Fredersen. One day, he spots a beautiful woman with a group of children, she and the children quickly disappear. Trying to follow her, he is horrified to find an underground world of workers who apparently run the machinery that keeps the Utopian world above ground functioning. One of the few people above ground who knows about the world below is Freder's father, John Fredersen, who is the founder and master of Metropolis. Freder learns that the woman is called Maria, who espouses the need to join the "hands" - the workers - to the "head" - those in power above - by a mediator who will act as the "heart". Freder wants to help the plight of the workers in their struggle for a better life. But when John learns of what Maria is advocating and that Freder has joined their cause, with the assistance of an old colleague. an inventor called ...


The Director and Players for Metropolis (1927) 720p

[Director]Fritz Lang
[Role:]Gustav Fr?hlich
[Role:]Alfred Abel
[Role:]Brigitte Helm


The Reviews for Metropolis (1927) 720p


Stunning imagery, pity about the plotReviewed byIgenlode WordsmithVote: 6/10

One definitely can't fault the breadth and ambition of Fritz Lang's vision, even if, as always with depictions of the future, there are a few forgivable blind spots. (The cars that swarm up and down the multiple levels of Metropolis are unmistakably the standard models of the 1920s, as are the flying-machines that buzz about them; while the business dress of tomorrow's rulers, unlike their exotic leisure wear, doesn't appear to have advanced one iota!)

H.G.Wells criticised the film for its adherence to arty image over scientific rigour, and as a piece of coherent science fiction it's certainly as lacking as he claimed. The machines exist to appear awesome and to torment their workers rather than to perform any apparent task, and there is no explanation of how this society functions, how it evolved or how it is sustained, let alone of the incongruities that must surely lie behind such anomalous locations as the catacombs and the cathedral. But Wells' own futuristic film, "Things to Come", conceived in direct riposte to Lang's 'unscientific' approach, is tedious and talky as a result, didactic in its heavy-footed philosophy and explanations, and lacking in artistic vision: "Metropolis" may be 'soft' SF, but its approach undoubtedly makes for better cinema.

I am not, however, impressed by it as a film. Masterpiece of Modernism it may be -- but great design and special effects can't save today's big-budget clunkers from deficiencies of character and plot, and they don't save this one. Ironically, I suspect that its reputation has benefited greatly from its being the only silent film many of its viewers have ever encountered: reading through the IMDb pages, I see well-meaning comments like "Great -- when you consider how primitive cinema was in 1927" and "once you get used to the fact that it takes about ten gestures to convey one sentence..." It wasn't -- and it doesn't!

As silent films go, this is in many places agonizingly slow and repetitious, marred by clumsy acting, tendentious titles and overwrought gestures. By the late 1920s, cinema had progressed far beyond this laboured pantomime: in Lang's case the heavy stylisation may have been a deliberate choice, but compared to the fluidity of contemporaries such as Sjostrom's "The Wind" or "The Scarlet Letter", Asquith's "Underground" or "Shooting Stars", and Murnau's "Sunrise", the film comes across as ten years behind the times. The problem is not necessarily with the actors -- Brigitte Helm, as has been observed, does an excellent job in differentiating her two characters -- but with the direction and pacing.

We saw the restored version with the original Gottfried Huppertz score; the latter didn't always seem to fit too well, with pops, jumps and awkward silences, but this was I assume due either to the difficulty of fitting it to allow for the missing material, or to problems in the projection booth when running a newly-arrived print for the first time. However, the painstaking summary of the various 'missing scenes' only ended up increasing my appreciation of what a good job had been done in the editing-down in the first place! To take a single example: where the edited version conveys Freder's sudden recollection that he is supposed to be the workers' long-awaited 'mediator' via the simple juxtaposition of three shots -- the shift-change whistle announcing the meeting, the catacombs and Freder suddenly struck by an idea and rushing off -- the restoration betrays the fact that a couple of scenes of mimed dialogue were originally provided to spell out the message at painstaking length...

It is interesting to see how it was done, but most of the cuts are either an improvement or a very clever abridgement, and by and large I didn't feel that what was omitted had been any great loss. In fact, frankly I felt that the film was in need of further editing at certain points, such as Rotwang's pursuit of Maria through the catacombs. She screams, and runs, and screams, and runs, and is pursued by a searchlight effect; it's clever, self-consciously clever, the first couple of times, but the repetition becomes tedious to the point of caricature. Plot infelicities abound in increasing numbers, culminating in the infamous 'Hunchback of Notre Dame'-style ending where the mad scientist carries off the girl across the roof of the cathedral hotly pursued by Our Hero, which raised giggles, in a hitherto serious and respectful audience, with which I couldn't help but sympathise.

This is a film to see once in a lifetime so that you can say that you have seen it -- not least because most of the impact lies in the visuals. But it's all surface and no substance: the characters act arbitrarily, the plot is subservient to the Message, the pacing is like treacle, the story-telling technique is primitive, and really all it has going for it is the visual flair and the special effects. I quite honestly believe that this work would be better appreciated as a set of stills in a glossy brochure; an exhibit in a design exhibition. This is not cinema as I love it -- it's innovative, it may be Art, but as an actual film it's only a poor shadow.

Heart is the Mediator Between Brains and Muscles ? A Futuristic View of the Fight of ClassesReviewed byClaudio CarvalhoVote: 10/10

In the future, the society of Metropolis is divided in two social classes: the workers, who live in the underground below the machines level, and the dominant classes that lives in the surface. The workers are controlled by their leader Maria (Brigitte Helm), who wants to find a mediator between the upper class lords and the workers, since she believes that a heart would be necessary between brains and muscles. Maria meets Freder Fredersen (Gustav Fr?hlich), the son of the Lord of Metropolis Johhan Fredersen (Alfred Abel), in a meeting of the workers, and they fall in love for each other. Meanwhile, Johhan decides that the workers are no longer necessary for Metropolis, and uses a robot pretending to be Maria to promote a revolution of the working class and eliminate them.

"Metropolis" is a fantastic futuristic view of the fight of classes. When "Metropolis" was shot, it was a romantic revolutionary period of mankind history, with socialist movements around the world. Fritz Lang directed and wrote the screenplay of this masterpiece certainly inspired in this historical moment and defending a position of agreement and understanding between both sides, showing that they need each other. I wonder how this great director was able to produce such special effects in 1927, with very primitive cameras and equipment. The city of Metropolis is visibly inspired in New York. The performance of Brigitte Helm is stunning in her double role, and this movie is mandatory for any person that says that like cinema as an art. My vote is ten.

Title (Brazil): "Metropolis"

New Restored Version Worth Checking OutReviewed byccthemovieman-1Vote: 7/10

For its time, this movie has stunning visuals, kind of Kubrick-esqe in appearance, especially the opening scenes of workers going and coming from work. It's very strange, with the group leaving walking with their heads down like zombies.

The set designs in here are also something that might draw your attention. This really has a futuristic look. I thought the visuals were fascinating. This was "German expressionist" filmwork at its height, I would think. Director Fritz Lang went on to become a very famous man in his profession. This wasn't his first effort but, I think this might have been the film that put him "on the map," so to speak. Several years later, he gained a lot more fame with "M." At any rate, with the photography, sets and overall Flash Gordon-type sci-fi look, this must have been a real eye-opener to movies viewers 80 years ago. I still think they look very cool today. The music was also very dramatic, at least in this restored 5.1 surround sound restoration DVD, put out by Klino.

Obviously, the eye makeup on men and the exaggerated motions by actors in silent films look a little hokey but I was mesmerized by Brigitte Helm, who plays "Maria" and her evil clone. She is something else! I also appreciated Klino's explanation of lost footage and how they did the best they could do to still make the story flow together. They did an outstanding job. I wouldn't attempt to watch this on anything less than this DVD, which looks pretty darn good.

This is a "worker" story about a man wanting to trade his comfortable life to join the oppressed workers, who do their thing beneath the earth in "Metropolis." Workers are seen as nothing but replaceable robots. If someone gets hurt, they get carted away and replaced immediately but some other zombie-like human. Of course, people being mistreated can only take it for so long before rebellion. That's history, from the days of the Jewish slaves in Egypt to today, so that's part of this story, too. I won't say more to ruin it.

I don't want to mislead people on one major point: today's audiences watching this. Few people in 2008 watch silent movies. To ask them to sit through two hours of a silent film is, obviously, asking a lot. I had to break this up into several viewings, myself, but that's okay. I still enjoyed it.....but it a silent movie this long is not easy to sit through. You have to be a student of film, or a big film buff, to watch this....but those people will be rewarded. Over 250 reviews in here show you this film has enough to offer, or at least take a look. Now that this restored version is available, check it out!

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