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Subscribe To Our Newsletter. All rights reserved. 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 Read all 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.
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.
Maria : Wait for him! He will surely come! Sign In. Play trailer Drama Sci-Fi. Director Fritz Lang. Thea von Harbou screenplay Fritz Lang screenplay. Top credits Director Fritz Lang. See more at IMDbPro. Top rated movie Trailer Clip Photos Top cast Edit. Brigitte Helm Maria as Maria …. Rudolf Klein-Rogge Erfinder C. Rotwang as Erfinder C. Rotwang …. Theodor Loos Josaphat as Josaphat …. Erwin Biswanger - Georgy as - Georgy. Grete Berger Arbeiterin as Arbeiterin uncredited ….
Olly Boeheim Arbeiterin as Arbeiterin uncredited …. Max Dietze Arbeiter as Arbeiter uncredited …. Ellen Frey Arbeiterin as Arbeiterin uncredited …. Heinrich Gotho Zermonienmeister as Zermonienmeister uncredited …. Dolly Grey Arbeiterin as Arbeiterin uncredited …. Fritz Lang. Thea von Harbou screenplay novel Fritz Lang screenplay uncredited.
More like this. Watch options. Storyline Edit. Below the surface is a workers' city where the clocks show 10 hours to squeeze out more work time, the workers live in tenement housing and work consists of unrelenting service to a machine. This vision of plutocracy vs. Lang created one of the unforgettable original places in the cinema.
The missing footage restored in this version comes to about 30 minutes, bringing the total running time to about minutes. We now learn that the hero, Freder, also changes places with the worker Georgy, in an attempt to identify with the working class. Freder's father, Fredersen, is the ruler of Metropolis. The purpose of the tall, cadaverous Thin Man, assigned by Freder's father to follow him, is also made more clear.
And we learn more about the relationship between Fredersen and the mad scientist Rotwang, and Rotwang's love for the ruler's late wife. Lang's film is the summit of German Expressionism, with its combination of stylized sets, dramatic camera angles, bold shadows and frankly artificial theatrics. The production itself made even Stanley Kubrick's mania for control look benign.
According to Patrick McGilligan's book Fritz Lang: The Nature of the Beast, the extras were hurled into violent mob scenes, made to stand for hours in cold water and handled more like props than human beings.
The heroine was made to jump from high places, and when she was burned at a stake, Lang used real flames. The irony was that Lang's directorial style was not unlike the approach of the villain in his film.
The good Maria, always bathed in light, seems to be the caretaker of the worker's children — all of them, it sometimes appears. After Maria glimpses the idyllic life of the surface, she becomes a revolutionary firebrand and stirs up the workers. Rotwang, instructed by Fredersen, captures this Maria, and transfers her face to the robot.
Now the workers, still following Maria, can be fooled and controlled by the false Maria. Lang's story is broad, to put it mildly. Do not seek here for psychological insights. The storytelling is mostly visual. Lang avoided as many intertitles as possible, and depends on images of startling originality.
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