Metropolis (1927)

Metropolis 10 January ______ Fritz Lang Dystopian, Science Fiction, German Expressionism Romance, Steampunk

Metropolis 10 January 1927 Fritz Lang ______, ______, ______ Romance, Steampunk

Metropolis 10 January 1927 Fritz Lang Dystopian, Science Fiction, German Expressionism ______, ______

______, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, ______ in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in ______ and its mechanised society founded on slavery. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and ______. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. ______ is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. Thea von Harbou’s script is is ______; it’s at best garbled, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s ______, and its resolution is, to say the least, politically dubious.

UFA’s most ambitious production, intended to rival Hollywood in its spectacular evocation of the 21st century city of Metropolis and its mechanised society founded on slavery. Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and ______.

Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious. ______, is tremendously inventive and exhilarating: no director before (and not that many since) had worked so closely with cameramen and designers to achieve such dynamic visual and spatial effects. (Tony Rayns)

Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious. Fritz Lang’s direction, on the other hand, is ______: no director before (and not that many since) had worked so closely with cameramen and designers to achieve such dynamic visual and spatial effects. (Tony Rayns)

Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious. Fritz Lang’s direction, on the other hand, is tremendously inventive and exhilarating: ______ had worked so closely with cameramen and designers to achieve such dynamic visual and spatial effects. (Tony Rayns)

Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious. Fritz Lang’s direction, on the other hand, is tremendously inventive and exhilarating: no director before (and not that many since) had ______ to achieve such dynamic visual and spatial effects. (Tony Rayns)

Thea von Harbou’s script is is a bizarre mixture of futuristic sci-fi and backward-looking Gothic horror; it’s at best garbled, and its resolution is, to say the least, politically dubious. Fritz Lang’s direction, on the other hand, is tremendously inventive and exhilarating: no director before (and not that many since) had worked so closely with cameramen and designers ______. (Tony Rayns)