Metropolis (1927/2002)

Question 1

Metropolis

10 January ______

Fritz Lang

Dystopian, Science Fiction, German Expressionism
Romance, Steampunk

Answer 1

1927

Question 2

Metropolis

10 January 1927

Fritz Lang

______, ______, ______
Romance, Steampunk

Answer 2

• Dystopian
• Science Fiction
• German Expressionism

Question 3

Metropolis

10 January 1927

Fritz Lang

Dystopian, Science Fiction, German Expressionism
______, ______

Answer 3

• Romance
• Steampunk

Question 4

______, in as scrupulous an approximation of its original form as can be hoped for. A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair.

Answer 4

Lang’s towering, tumultuous 1926 folly rises again

Question 5

Lang’s towering, tumultuous 1926 folly rises again, ______. A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair.

Answer 5

in as scrupulous an approximation of its original form as can be hoped for

Question 6

Lang’s towering, tumultuous 1926 folly rises again, in as scrupulous an approximation of its original form as can be hoped for. ______, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair.

Answer 6

A commercial disaster in its day

Question 7

Lang’s towering, tumultuous 1926 folly rises again, in as scrupulous an approximation of its original form as can be hoped for. A commercial disaster in its day, it was ______, left to sow its influence in various prints of disrepair.

Answer 7

soon bowdlerised from Lang’s 137-minute edit

Question 8

Lang’s towering, tumultuous 1926 folly rises again, in as scrupulous an approximation of its original form as can be hoped for. A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, ______.

Answer 8

left to sow its influence in various prints of disrepair

Question 9

A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair. ______ collaborated on the field and lab work behind this definitive restoration.

Answer 9

Finally, a consortium of German and international archives

Question 10

A commercial disaster in its day, it was soon bowdlerised from Lang’s 137-minute edit, left to sow its influence in various prints of disrepair. Finally, a consortium of German and international archives ______.

Answer 10

collaborated on the field and lab work behind this definitive restoration

Question 11

Finally, a consortium of German and international archives collaborated on the field and lab work behind this definitive restoration. ______ is now almost certainly irrevocably lost.

Answer 11

Any unrecovered footage

Question 12

Finally, a consortium of German and international archives collaborated on the field and lab work behind this definitive restoration. Any unrecovered footage is ______.

Answer 12

now almost certainly irrevocably lost

Question 13

Any unrecovered footage is now almost certainly irrevocably lost. ______, but more to the point, showcases Lang’s vision resplendently.

Answer 13

What is here fills in some of the potholes

Question 14

Any unrecovered footage is now almost certainly irrevocably lost. What is here fills in some of the potholes, but ______, showcases Lang’s vision resplendently.

Answer 14

more to the point

Question 15

Any unrecovered footage is now almost certainly irrevocably lost. What is here fills in some of the potholes, but more to the point, ______.

Answer 15

showcases Lang’s vision resplendently

Question 16

What is here fills in some of the potholes, but more to the point, showcases Lang’s vision resplendently. ______ is a revelation.

Answer 16

The image quality

Question 17

What is here fills in some of the potholes, but more to the point, showcases Lang’s vision resplendently. The image quality is ______.

Answer 17

a revelation

Question 18

The image quality is a revelation. Of ______, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang.

Answer 18

the amendments

Question 19

The image quality is a revelation. Of the amendments, there’s ______, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang.

Answer 19

more of various bit-characters

Question 20

The image quality is a revelation. Of the amendments, there’s more of various bit-characters, plus ______, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang.

Answer 20

the spectre of Freder’s mother Hel

Question 21

The image quality is a revelation. Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, ______ his father, the city’s potentate, and the mad magus-inventor Rotwang.

Answer 21

the origin of the bad blood between

Question 22

The image quality is a revelation. Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between ______, and ______.

Answer 22

• his father, the city’s potentate
• the mad magus-inventor Rotwang

Question 23

Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang. ______, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script stand horribly exposed.

Answer 23

The director’s strengths, however

Question 24

Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang. The director’s strengths, however, ______, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script stand horribly exposed.

Answer 24

rarely extended to the nuances of character or individual interplay

Question 25

Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang. The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and ______, the silly dialectics of Thea von Harbou’s script stand horribly exposed.

Answer 25

what with the overwrought Expressionist acting and Lang’s dualist leanings

Question 26

Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang. The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, ______ stand horribly exposed.

Answer 26

the silly dialectics of Thea von Harbou’s script

Question 27

Of the amendments, there’s more of various bit-characters, plus the spectre of Freder’s mother Hel, the origin of the bad blood between his father, the city’s potentate, and the mad magus-inventor Rotwang. The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script ______.

Answer 27

stand horribly exposed

Question 28

The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script stand horribly exposed. ______ and a crude yet visionary parable, Metropolis is still impossibly ambitious.

Answer 28

A frenzied cinematic spectacle

Question 29

The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script stand horribly exposed. A frenzied cinematic spectacle and ______, Metropolis is still impossibly ambitious.

Answer 29

a crude yet visionary parable

Question 30

The director’s strengths, however, rarely extended to the nuances of character or individual interplay, and what with the overwrought Expressionist acting and Lang’s dualist leanings, the silly dialectics of Thea von Harbou’s script stand horribly exposed. A frenzied cinematic spectacle and a crude yet visionary parable, ______.

Answer 30

Metropolis is still impossibly ambitious

Question 31

A frenzied cinematic spectacle and a crude yet visionary parable, Metropolis is still impossibly ambitious. And ______. (Nick Bradshaw)

Answer 31

that this patched-up print pulls the film apart at the seams is all to apt