!!''Film/{{Metropolis}}'' by Creator/FritzLang:

* AdaptationDisplacement:
** The title of this page used to refer to Creator/OsamuTezuka's ''Anime/{{Metropolis}}''.
** Just about every sci-fi film made in the past 80 years references this movie.
** Yep, there is a book. It was written by Thea von Harbou, the screenwriter and Lang's wife at the time.
* SugarWiki/AwesomeMusic: The original reconstructed soundtrack by Gottfried Huppertz; [[http://www.youtube.com/watch?v=epuUqdkO47w "Cage of Freedom"]] from the Moroder version.
* BetterOnDVD: Way better, especially now that this movie has been found ''nearly complete'' and has been released on DVD and Blu-Ray
* BrokenBase: Opinions on the Moroder version are sharply divided, to say the least.
** The False Maria's striptease. Is it genuinly erotic, too ridiculous to be taken seriously, a prime example of NightmareFuel, or a combination of all of the above?
** Thea von Harbou's novel. Is it a good piece of supplementary material with better characterisation and more WorldBuilding than the film allowed for, with some interesting symbolism as well? Or is it just pretensious, overwritten trash which only became a watchable film thanks to Fritz Lang's directing skills and the lack of the {{Narm}}y dialouge?
* EnsembleDarkhorse:
** Rotwang's robot [[OneSceneWonder who only gets a couple minutes of screentime]] ''has become the film's unofficial symbol'' in pop culture. It's the only character shown on the film's most famous poster. Creator/OsamuTezuka's version was inspired by nothing other than that famous image. Of course, technically, the Maria Machine actually has a ton of screentime, just not in that form.
** In the new restoration, the thin man.
** Rotwang, for being a classic evil and hammy MadScientist with a neat cybernetic hand and a surprisingly sad backstory.
* EvilIsSexy: The False Maria. She is an city-destroying robotic stripper based on the Whore of Babylon, so this is basically a given.
* FauxSymbolism: The whole 1920s film.
** RuleOfSymbolism, for the most part. You have crucifixion imagery, giant clock face, personified Whore of Babylon, retelling of the Tower of Babel story, animated gargoyles personifying Death and the Seven Deadly Sins, a hidden church in catacombs, an inverted pentagram, talk about "brothers and sisters", the machine as Moloch...
** The Moroder lyrics add a bunch more, with [[Creator/GeorgeOrwell Orwellian]] {{shout out}}s (the edition was timed to release in [[Literature/NineteenEightyFour 1984]]), references to "[[{{Ouroboros}} infinite circles of snakes eating their own tails]]" and the like.
* FetishRetardant: Several viewers have felt that the scene where the False Maria dances around while wearing practically nothing is a lot less sexy than it should be due to Brigitte Helm's rather stiff and mechanical dance moves. They either turn the scene into {{Narm}}, or make it terrifying by plunging it deep down into TheUncannyValley. Though considering that she is an evil robot, the latter reaction might very well be exactly what Lang was going for.
* HoYay: Freder is a [[http://cboye.files.wordpress.com/2010/12/freder.png very physical person]]. Especially with Josaphat and 11811. [[spoiler:On the other hand, it's very firmly established that he loves Maria...]]
* JerkassWoobie: Joh Fredersen. On one hand, he is the creator and ruler of an oppressive dystopia and the initiator of a kidnapping and a FalseFlagOperation. However, it is also shown that he truly cares about his son and still mourns his dead wife. Alfred Abel's performance makes him come off as sympathic and rather tragic as well as cold and ruthless. It's hard not to feel bad for him in the end, when he realises that Freder's life is in danger and has a complete breakdown.
* {{Macekre}}: If you compare the 1928 American release to the original film -- editing by chainsaw, and Channing Pollock boasting about having rewritten the whole thing.
* MisaimedFandom: Partly. UsefulNotes/AdolfHitler said ''Metropolis'' was one of his favorite films. The writer, Thea von Harbou, was a dedicated Nazi. The director, her husband Fritz Lang, divorced her and moved to Hollywood soon after the Nazi rise to power. To a normal person the movie certainly doesn't have anything supporting the Nazi ideology, unless you take extreme liberties at interpreting the {{A|nAesop}}esop. It's directed against all forms of tyranny, from ruthless capitalism to mob rule. However, in fascist and Nazi wishful thinking fascism and later nazism had bridged the gap between worker and capitalist renouncing exploitation and decadence on one hand and mob rule and blind lust for destruction on the other. In their eyes this film is a tribute to or a prophecy of that great achievement.
* {{Narm}}[=/=]{{Anvilicious}}: The ending. Even Fritz Lang admitted he didn't like it in an interview he gave several decades later. In an essay that is available in the booklet of the Masters of Cinema DVD, Jonathan Rosenbaum has this to say: "one of the lamest endings of any great film I can think of".
* NightmareFuel: Evil!Maria is a sterling example of this. Her movements, her expressions, [[UncannyValley everything about her]] scream so horribly that this is something that looks human but ''isn't''.
** Her death scene is especially creepy. She laughs maniacally for several minutes as she is burned alive, all the while twisting around in a non-human, demonic fashion.
* OneSceneWonder: Moloch only appears once in a single vision in the movie, but man is it a memorable one.
* OnlyTheCreatorDoesItRight: The 2010 version, which is closest to Lang's original cut of the film, is generally considered to be the best version. The only real compeditor is the Moroder version, which was made by people who were very famous and talented in their own right, and even that version is a case of LoveItOrHateIt. However, this trope might be subverted in that the original novel the film was based on is also a BaseBreaker, as many feel that the movie is actually better than the book.
* SignatureScene: The robot being created, of course.
** The scene where Freder takes a taxi to his father's office might count too. It's the first time the viewer gets a good look at the rich people's city, and it looks glorious, with lots of SceneryPorn.
* UncannyValley: An invoked example will the robot Maria, who despite looking human moves in a twitchy, insect like way and has odd facial expressions, to convey how different she is from a person.
* VindicatedByHistory: When it was first released it was a huge flop that nearly bankrupted Ufa, the studio that produced it. It was also trashed critically by Lang's former admirers and friends, who considered it the weakest of his silent epics, dismissed by Creator/HGWells himself as "quite the silliest film". Now, it's considered the forerunner to ''all'' science fiction films ever, including but not limited to ''Franchise/StarWars, Film/BladeRunner, Film/TheTerminator'' and ''Film/AIArtificialIntelligence''.

!!''Anime/{{Metropolis}}'' by Creator/OsamuTezuka:

* AwesomeArt: Whatever you think of the [[TechnologyMarchesOn increasingly dated]] [[ConspicuousCG CGI]], the traditional animation still holds up very well.
* FauxSymbolism: There's a nice bit where Tima is standing on the roof in a beam of sunlight, presumably recharging. A bird lands on her shoulder. They cut to another viewpoint, and she looks ''exactly'' like an angel.

!!''Theatre/{{Metropolis}}'' by Joe Brooks:

* AccidentalAesop: The story seems to have a GreenAesop, as it takes place in a post-apocalyptic setting where the enviroment has been destroyed, but, much like WesternAnimation/WallE, it's likely that the setting was only created to allow the plot to happen.
* AdaptationalContextChange: Sort of. The play keeps the line "Let's watch the world go to the devil" from the film, but it now has the workers thinking that Futura herself ''is'' the devil (as opposed to "just" a witch). This means that, as far as they are concerned, the meaning of the line changes from "Let's watch the world burn" to "Watch as I conquer the world."
* AudienceAlienatingPremise: A science-fiction musical based on a German expressionist silent film. This may be why it wasn't much of a hit.
* AwesomeMusic: The soundtrack is actually really good. Even the unintentionally funny songs are rather catchy.
* EnsembleDarkhorse: Judy Kuhn who, much like Brigette Helm before her, plays both Maria and her evil impersonator and ''nails'' both of them.
* HarsherInHindsight: John Freeman, the creator of Metropolis, commiting suicide and taking his city with him becomes this when - in an especially tragic case of LifeImitatesArt - Joe Brooks, the main creator of this play, commited suicide in 2011 and essentially took Metropolis with him by forbidding others to perform the musical after his death.
* HellIsThatNoise: "''Eh uh eh! Fuuutuuuraaah...''"
* HilariousInHindsight: John Freeman's name, which he just happens to share with [[FanFic/HalfLifeFullLifeConsequences the Saver of Humens.]]
* {{Narm}}: Some of the music is a bit too lighthearted for such a dark plot, leading to the wrong kind of SoundtrackDissonance.
** John Freeman can sometimes be so cartoonishly evil that it becomes hard to take him seriosly.
** "A double shift will kill him." True, ItMakesSenseInContext, but still...
* PragmaticAdaptation: Steven and Maria are both given more character development and portrayed as less over the top than they were in the 1927 silent film.
* SomeAnvilsNeedToBeDropped: Maria's part in the song ''It's Only Love. Bring On The Night'' has the rather refreshing message "You don't need love to be happy." Of course, it becomes a bit of a BrokenAesop later when she falls in love anyway, but still.
* SoBadItsGood: Some of the {{Narm}}-eir moments in the play makes it all the more entertaining.
* VillainDecay: John Freeman loses all sympathic qualities and subtlety Joh Fredersen had in the original story, going from being a JerkassWoobie to a straight up {{Jerkass}}.
** Warner also loses Rotwang's tragic backstory, his scheming, his importance to the plot, his hammy performance, his robotic hand, his implied usage of black magic and, by extension, everything that made the character memorable in the first place.
* WhatTheHellCastingAgency: Some fans of the Fritz Lang movie are rather baffled that this version of Joh Fredersen - originally portrayed by TheStoic, clean-shaven, skinny Alfred Abel - is now played by the [[ChewingTheScenery scenery-chewing]], bearded, heavyset Creator/BrianBlessed. This is made even wierder by the fact that Creator/BrianBlessed both looks and acts much like the movie version of Grot, and would probably have been better suited for that character.

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