We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
D e I i g h t Evans's
REVIEWS
([What 7^[ew Tor\ loo\s li\e to the rest of the world.
ETROPOLIS
Qy4 Celluloid Sky-scraper
H, what a picture! Don't miss "Metropolis" ; on the other hand, don't let it give you bad ideas. Those indictments of efficiency just may go to your head When you stroll haughtily into your office the next morning, two hours late, be careful the boss doesn't catch you. He may not have seen the picture. And after all, we're not as efficient as this German film tries to make out — not for a couple of centuries yet, we aren't.
I wish an American had made it, but we can't see our' selves as others see us. Native New Yorkers would feel pretty awful after this glimpse of what they look like to the rest of the world if there were any native New Yorkers. But let me tell you that "Metropolis" is one whale of a picture. It's the biggest thing you'll see for a long time. Directed by Fritz Lang, who did "Siegfried", and edited by our own Channing Pollock, it's an impressionistic drama of the Big Town of the future — if ihings go from bad to worse. We see a city rising high
42
C[A daughter of the wor\ers pleads for the children, "They are your brothers."
into the clouds and deep into the earth, a city controlled by one man — John Masterman— who is concerned only with materialism and not at all with the souls of the workmen who builded his city for him. So when Masterman's son and a daughter of the people get together, there is bound to be excitement. Thrills occur when a Frankenstein monster made in the image of the lovely heroine turns on her creators and leads the workmen to rebellion. A frenzied mob, lead by the machine-girl, wreaks havoc on the city — and so amazing is the direction that a mob of thousands of extras is made as emotionally expressive as a single actor. When that mob comes surging toward you, you'd better toss your wallet at them, or you'll have bad dreams about Capital and Labor. The grand finale of the film is a tableau depicting the union of brains and hands through the mediation of the heart, or something. It sounds fine, and I only hope it works out.
Briggite Helm is the hard-working heroine, and I think she is wonderful. A veritable Lillian Gish as the gentle