In 1984 Giorgio Moroder, man of a magnificent mustache but more importantly of Grammy and Oscar winning chops set out to add some modern flare to Fritz Lang’s pivotal Sci-fi film Metropolis. Originally made in 1927, the film went through several edits after it’s German premiere until it was chopped and screwed down to an incohesive albeit technically and stylistically brilliant film. Moroder added lost footage, new special effects and color to reintroduce Lang’s masterpiece to the MTV generation, choosing to edit it down to a more palatable 80 minutes (from 153). Then he took it one step further enlisting Pat Benetar, Adam Ant, Bonnie Tyler, Freddie Mercury, and Billy Squire to name a few, to record a modern pop-rock score to accompany the film. And then came the angry mobs and the Razzie nods. Having seen the Kino restored version last year compared to Giorgio’s I will say they feel like two different films. And I think there is a place for both.
As stunning as silent features can be, they tend to drag. Even with early acting’s spastic movements and clown like facial expressions, I always miss the dialogue. For me, Moroder’s score moved the film along and enhanced certain scenes: Bonnie Tyler’s searing introduction of the evil robot in Here She Comes. When the creature turns to camera and gives a slow wink you know little Metropolis is doomed. And Freddie Mercury’s Love Kills shows just how convincing this robot can be as she shimmies to a crowd of tuxedoed salivating men who will rip each other apart just to get closer to her. It’s far from Mercury’s best but I could happily listen to Freddie sing a jury duty roll call sheet. What felt less affective was the colorization of the film, but I think I see what Moroder was going for: I guess if you’re going getting a face lift you might as well get some filler put into your lips too. Metropolis is available on DVD and Blu-Ray November 15th and is showing in cities across the US.
Moroder and his mustache with Donna Summer in 1977.
