"Metropolis" Likely to be Sensation (1926) 🇺🇸
(Editor's note: The following has been written by Albert A. Sander, former foreign publicity director of the Ufa at Berlin and now conducting his own press bureau in that city. It is, of course, an expression of opinion, but comes from a source which makes it worthy of attention.)
Berlin, end of July — When this article appears in print, Fritz Lang, the famous producer of "Dr. Mabuse," "The Nibelungs" and other international successes, will have finished the greatest picture which was ever produced in Europe and — perhaps — even in Hollywood. Contrary to "The Nibelungs," which was a historical and chiefly pictorial master work, Metropolis has a modern — even ultra modern — plot conceived by Thea von Harbou, the famous scenario and novel writer, Fritz Lang's consort and faithful collaborator. I have seen almost every one of the gorgeous sets that were erected for this production, I have watched Lang directing some of the most exciting mob scenes, I have had the fortune of seeing some of the daily rush prints and from my observations I can say without fear of being contradicted that Metropolis, when it comes to America, will create a sensation such as never created by any picture so far screened.
At this moment, when the closing shots are still to he made, Fritz Lang's latest is being discussed by every trade paper in the world. As a matter of fact, it is the first picture of continental origin which was sold to America and Great Britain at a record price before it was even completed. The technical innovations I have seen, the wonderful trick shots, the phantastic inventions of times yet to come are so wonderful that I lack words to describe them. At Staaken, the biggest studio in the world, I have seen entire factories blown into the air by terrific explosions. I have seen — on the screen — countless men being hurled into the air like so many particles of mere dust. At the Neubabelsberg plant of the Ufa, I have witnessed an entire city being destroyed by explosions and water. On another set, I was enchanted by the view of about a hundred of the most beautiful women that could possibly be found, each of whom, as far as face and figure is concerned, could have easily carried off first honors at any beach beauty contest. I have witnessed with my own astonished eyes how the wonderful genius of Lang transformed mere beginners — the rawest of raw material — into true revelations of dramatic art. In fact, whenever I left a Metropolis set with Lang at work, my eyes were dazzled from the splendor they witnessed. The wonderful aspects even came back to me in my dreams. All I can say is that the Americans have a surprise coming which will open their eyes wide.
Lang not to go to Russia
What Fritz Lang will do after he has finished Metropolis is still a matter of speculation. I am, however, in the position, to authentically deny the rumors saying that the famous producer will go to Russia. It is true that Lang has received propositions from that country so wonderful and so fabulous, that one would hardly believe it. But it is equally true that he has declined all of these proposals, because he had reason to fear that the element of propaganda that is noticeable in every Soviet production' would have been to the detriment of that cinematographic art of which Lang is the most faithful exponent. Ii is Fritz Lang's credo that real art has nothing in common with propaganda. To him, a dyed-in-the-wool idealist, no offer could have been tempting enough to make him forget the one principle of his life's work and ambition.
I am far from even attempting of giving a pre-view of Metropolis, but I think that, without doing harm to anybody, I can say this picture embodies in itself all the elements which are indispensable for a success in America — tension, action, excitement, beauty of persons, of settings, motives and thoughts and — above all — one of the most beautiful and tender love stories which one could imagine. Fritz Lang has told me that he has benefited to a large extent from his trip to the States. He has learned to understand the American mentality and his observation of American production methods has afforded him many valuable ideas.
Whoever had the pleasure of watching Fritz Lang on the set will carry home one outstanding impression, the wonderful gift of this man to be a real leader of men. When he employs massed crowds he is not satisfied with standing next to the camera and directing his crowds by means of megaphone and assistant directors. One minute lie is here, the next there.
This is the way in which Lang has directed Metropolis. The film will be completed when this article is printed and it will not take long before the American public will have an opportunity to judge it on its merits. Whatever the verdict may be, one thing one can safely predict and that is, that every cent spent on the production will be found back again in the negative.
These scenes give some idea of the magnitude of the latest Ufa production Metropolis to be released through Paramount, which was produced and directed by Fritz Lang.
The scene in the upper left hand corner shows how one group of men were photographed as four separate units through clever use of the camera.
Top center shows the director supervising the erection of one of the sets.
In the upper right hand corner and directly below Lang is seen directing the flood scene in the production
Collection: Motion Picture News, August 1926