Metropolis (film) – { feuilleton }

Metropolis Magazine, 1927

When Fritz Lang’s Metropolis was released in Britain the distributors, Wardour Films Ltd, produced a 32-page guide to the film filled with production stills and brief pieces written by the cast and crew. I have a facsimile copy of this publication, a limited reprint by Phantasm Press, but the original document is also available for reading or downloading at the Internet Archive. Publications like this were the standalone equivalent of promotional pieces created for the readers of film magazines; Metropolis was Ufa’s most expensive production to date so there would have been a need for serious promotion.

None of this effort helped make the film a success, however. Lang’s epic is a masterpiece of direction and production design but Thea von Harbou’s script was the kind of absurd and naive fare you often get from writers incapable of projecting the complexities of the present day into their visions of the future. (HG Wells was unsparing in his review of “the silliest film”.) A lack of audience enthusiasm prompted foreign distributors to take out their editing scissors, but cutting a quarter of the footage didn’t help either, especially when the cuts made nonsense of the motivations of Rotwang the inventor. One thing you can see in the programme is shots from sequences like the race-track scene which were subsequently removed and wouldn’t be seen in anything other than still form for many decades.

Previously on { feuilleton }
• Blade Runner vs Metropolis
• The Metropolis of Tomorrow by Hugh Ferriss
• Metropolis!
• Metropolis posters

Hands with a mind of their own

My weekend viewing included two films based on The Hands of Orlac (1920), a novel by Maurice Renard. This is one of those books that remains little read and seldom discussed even though its central idea—a concert pianist injured in a train wreck is given the hands of an executed murderer in a transplant operation—has prompted many film adaptations, almost enough to make the novel the origin of a sub-genre of hand-transplant horror. Robert Wiene’s The Hands of Orlac was the first screen adaptation made in 1924, and is another in the long list of silent films I’ve known about for decades but had to wait until now to see. The film is notable for reuniting the director of The Cabinet of Dr Caligari with Conrad Veidt, the actor who portrayed Caligari’s murderous somnambulist, Cesare, in a mute role that mostly required stalking around acutely-angled sets in a black body stocking.

The Hands of Orlac: Paul Orlac (Conrad Veidt) is besieged by nightmares in his colossal hospital room.

Veidt has much more to do as the lead in The Hands of Orlac, giving a suitably tormented performance as the pianist convinced that his new hands retain the violent impulses of their former owner. The acting from Veidt and Alexandra Sorina as Orlac’s wife, Yvonne, is often wildly emotive, surprisingly so for a film made near the end of the silent era when the mannerisms of early silent pictures were being replaced by greater naturalism. Lotte Eisner in The Haunted Screen explains this in terms of the Expressionist influence which was still prevalent in German cinema, and which extends beyond lighting and set design. A scene in which Orlac is overwhelmed by his predicament is described by Eisner as “an Expressionist ballet”; when Orlac holds a dagger aloft this becomes an unmistakable mirroring of a climactic moment in Caligari.

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The Thousand Eyes of Dr Mabuse

Among the weekend’s viewing was the third and final film in Fritz Lang’s Mabuse cycle, The Thousand Eyes of Dr Mabuse (1960). This was also Lang’s final feature, made after his return to Germany in the late 1950s, and another film of his that for many years I knew only as an impossible-to-find title. I’d read about the Mabuse series in Lotte Eisner’s study of Lang’s career even before the name and character was co-opted by Propaganda for their first single in 1984, but the only films of Lang’s that ever used to appear on TV were the Hollywood features or, if you were lucky, a poor print of Metropolis. Mabuse was a source of fascination for the way the character connected the beginning and ends of the director’s career, as well as being a German take on the Moriarty-like super-criminal. The first film in the series, Dr Mabuse, the Gambler (1922), condenses the corruption of Weimar Germany into a potent physical icon, while the sequel, The Testament of Dr Mabuse (1933), reflects the fevered moment when real super-criminals were taking control of the nation. The Nazis were sufficiently discomforted by Testament to ban it shortly after its release.

Cornelius the psychic with insurance salesman Hieronymus B. Mistelzweig and police inspector Kras.

The Thousand Eyes of Dr Mabuse appeared just as new super-villains were emerging to oppose James Bond and his imitators. One of Bond’s early adversaries, Auric Goldfinger, was portrayed on screen by Gert Fröbe who appears here on the opposite side of the law as homicide inspector Kras. Fröbe’s tenacious policeman is one of the few fixed points in a plot filled with twists and deceptive identities. Assassinations and double-crosses are a staple of this type of thriller but Lang also gives us an early example of electronic surveillance in a contemporary setting, together with a séance that harks back to a similar scene in the first Mabuse film. The séance is an unusual touch in a story otherwise devoid of similar moments, prompted by the film’s most mysterious character, Cornelius the blind psychic. With an appearance reminiscent of the late Karl Lagerfeld, Cornelius is an overt throwback to Lang’s pre-war films, many of which hinted at the mystical or supernatural even when such hints seemed unnecessary; Rotwang, the robot-builder in Metropolis (played by the original screen Mabuse, Rudolph Klein-Rogge) is a mechanical genius who just happens to live in a house more suited to an alchemist, with a huge inverted pentagram on one of its walls. The sinister motives of Cornelius aren’t so baldly stated but his consulting room is lavishly decorated with astrological diagrams. The psychic, together with the criminals and the police inspector, create a problem common to films of this kind in which the more colourful characters generate greater interest for the viewer than do the romantic leads. After a succession of breathless opening scenes, Thousand Eyes sags a little while wealthy industrialist Henry Travers (Peter Van Eyck) is getting to know Marion Menil (Dawn Addams), a woman he rescues from a suicide attempt. The film also lacks the subtext of the earlier episodes, although Mabuse’s scheme turns out to be diabolical enough for any of James Bond’s Cold War enemies.

The séance.

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Weekend links 323

Mescaline Woods (1969) by Gage Taylor.

• The soundtrack to The Man Who Fell to Earth will be released for the first time next month in a double-disc set (CD & vinyl). This isn’t, as some people have hoped, David Bowie’s unheard music for the film, but a collection of the pre-existing songs and other pieces, plus the original compositions by John Phillips. Consequence of Sound has a track list.

• At Scream Addicts: Joe R. Lansdale talks about the only film adaptation of Shirley Jackson’s The Haunting of Hill House that you need to see: the 1963 version directed by Robert Wise.

• The new wave of new age: How music’s most maligned genre finally became cool by Adam Bychawski.

• Transmissions From The Abyss: Dark ambient music for the perfect headspace by S. Elizabeth.

• Jason Farrago reviews Art Aids America, an exhibition at the Bronx Museum, New York.

• Curse Go Back: a limited reissue of tape experiments by William Burroughs.

• Samuel Wigley on Notorious at 70: toasting Hitchcock’s dark masterpiece.

• Toyah Willcox remembers working with Derek Jarman on The Tempest.

• “Why are musicians so obsessed with David Lynch?” asks Selim Bulut.

• Read the original 32-page programme for Fritz Lang’s Metropolis.

• David Parkinson chooses 10 essential films starring Oliver Reed.

• Mixes of the week: The Sounds of the Dawn NTS radio shows.

• Keith Haring envisions Manhattan as a kingdom of penises.

• Frank Guan on Massive Attack’s Blue Lines, 25 years on.

• Honky Tonk Pts 1 & 2 (1956) by Bill Doggett | I’ve Told Every Little Star (1961) by Linda Scott | I’m Deranged (1995) by David Bowie

Blade Runner vs. Metropolis

Given the chronology this should really be “Metropolis vs. Blade Runner” but most people are more familiar with Ridley Scott than Fritz Lang so I’ve let Blade Runner determine the order of the shots.

These shot comparisons aren’t exactly news but they’ve become more evident since rewatching the restored print of Metropolis. Among other things, the rediscovered footage yielded a scene with a character reading a newspaper that’s a match for Harrison Ford’s first appearance. The similarities extend, of course, to the thematic: futuristic megacities, flying vehicles, the creation of artificial human beings. Both films also end with a struggle to the death on the roof of a building. The cinematographer for Blade Runner was Jordan Cronenweth; Metropolis was the work of Karl Freund, Günther Rittau and Walter Ruttmann.

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