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Metropolis (release full version one)


Goalieboy82
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I saw the restored version at the film festival with the Alloy Orchestra (4 musicians). The new footage really helps to enhance the story. The problem for me is the too many endings. If they had wanted to improve the story by cutting eighty plus years ago, they could have cut a few of the extra endings that drag the story out for an additional 45 minutes that it doesn't need.

 

But, if you have the chance to see it on the big screen, don't hesitate to go. It is worth it, extra endings and all!

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> {quote:title=lzcutter wrote:}{quote}

> I saw the restored version at the film festival with the Alloy Orchestra (4 musicians).

 

Three guys playing junk.

 

?An unusual combination of found percussion and state-of-the-art electronics gives the Orchestra the ability to create any sound imaginable. Utilizing their famous "rack of junk" and electronic synthesizers,?

 

http://www.alloyorchestra.com/

 

And their sound tracks sound like they were made by three guys playing junk.

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*Three guys playing junk.*

 

Fred,

 

I was like you before I saw the film. Wondering ****? But, for once, their minimalist and techo sound fit a film perfectly. Their soundtrack enhanced the movie more than I originally thought it would.

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Well, if you like it, that's fine, but when I hear a track with some guys bumping garbage can lids together and some guy playing the five same notes over and over again on a keyboard set to "repeat", then I just turn off the sound.

 

I grew up in an era in which we heard "music" on film sound tracks.

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I don't have an active dislike of blatantly modernized soundtracks to silent films but I do think they're often unfitting or cliched and at worst downright painful. An electronic/industrial sound for Metropolis just seems to be novelty. Metropolis is terribly melodramatic and grandiose so there's nothing wrong with a huge orchestral score. I'm reminded of the score for TCM's current version of Broken Blossoms. The train of thought in creating that score seems to be, "Broken Blossoms is often called a 'lyrical' film, so lets give it some impressionistic/expressionistic guitar/violin work." A plaintive piano score would have been far more effective and "lyrical" than what you have there (though I do think the new TCM Broken Blossoms score kind of works when it gets quieter towards the very end; the opening of the film in China is simply horrible though.)

 

Criterion's Pandora's Box comes with four wildly different scores, the best by far being the default Gillian Anderson score. There's a modernist piano reading of the film that is only sporadically effective and it seems to have been based on the thought that Pandora is "avant-garde" in many ways (in the stereotypical thought of what avant-garde means.) The "Cabaret Score" is completely aloof and brings nothing to the picture. Peer Raben, although the composer of one of my favorite scores (Berlin Alexanderplatz,) offers a limp piece that never truly plays off of the film effectively. Pandora's Box is a film of varying tones; light, mysterious, seductive, seedy, grim, melancholy, etc. The other three scores lack any dimension in this way (though Raben tries.) On the second disc among the extras are clips of Pandora's Box with a piano score (from the late 70s/early 80s) that sounds pretty nice, not dressed up in extravagant flourishes, simple and effective, proper.

 

A metal band has just finished a score for Nosferatu and I groaned when I heard about it (I groaned again when I actually heard it.) It's just a stupid choice for the most obvious silent ever, I can't say anything else about it. They're also going to do one for....wait, I bet you can guess...Dr. Caligari! How original! (*end sarcasm*) But I suppose we're veering off course into a rant about the image of silent movies to the general public now...

 

As a Kraftwerk fan, I would be interested in hearing what they would have done for Metropolis if they had indeed been given the opportunity to score a proposed version of it in the late 1970s/early 1980s. If it didn't exactly fit the movie it would have at least had value as pioneering Kraftwerk music.

 

In general I think a new score for a silent film should aspire to reflect what you would have heard at the time of the original release and if not, something that respectfully and ably reflects the tone of the film in a similar fashion.

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