Islands Brygge v. Silo52 \/\/ 01.08.2007 kl. 21.30<\/p>\n
Fritz Langs sort\/hvid mesterv\u00e6rk Metropolis projiceret p\u00e5 den sidste historiske industribygning i K\u00f8benhavns Havn til livemusik af det banebrydende avant-rock band, Art Zoyd<\/strong><\/p>\n Der er ganske f\u00e5 film som Fritz Langs sort\/hvid-klassiker fra 1927, der har skabt kult, debat og brugt p\u00e5 den storpolitiske arena. Frits Lang fortalte selv, at det var de f\u00f8rste skyskrabere i New York, der gav ham inspirationen til filmen, der kort efter premieren kom til at spille en ufrivillig rolle i Hitlers propagandamaskine. Metropolis er et mesterv\u00e6rk af de helt store og giver samtidig et historisk vingesus til den Biennale, som K\u00f8benhavns Internationale Teater lancerer i \u00e5r. \u201dFilmen vil forblive uden sidestykke\u201d<\/em> udtalte mesterinstrukt\u00f8ren Luis Bunuel lige efter premieren i 27.<\/p>\n Ved \u00e5bningsbegivenheden for biennalen Metropolis vil det franske avant-rock band Art Zoyd iscenes\u00e6tte filmen gennem scenografi og deres minimalistiske komposition skabt til netop denne film. Art Zoyd har siden deres store gennembrud i starten af 80erne, hvor de var frontfigurer i den nye b\u00f8lge af Art Rock eller Avant-Rock, specialiseret sig i at iscenes\u00e6tte de store klassiske stumfilm gennem scenografier og nye kompositioner ligesom store multimedieshows h\u00f8rer til deres speciale. De har tilmed skabt flere nye musikgenrer som eksempelvis det New York Post anmelderen Erika Milvy kalder gotisk Kammer musik.<\/p>\n Fritz Langs Metropolis og Art Zoyd er en unik cocktail, der efterlader st\u00e6rke minder.<\/p>\n \u201ctheir attention to detail is so impressive that their soundtrack effectively works as a kind of abstract shadow narrative (\u2026) Metropolis is an impressive undertaking\u201d<\/em> Tom<\/strong>Ridge<\/strong>, The Wire<\/strong><\/p>\n \u201cPersonally, I feel Art Zoyd is one of the most important bands in the world – unsafe and arousing\u201d<\/em> Glenn Hammett, The Absolute Sound<\/strong><\/p>\n ABOUT LANG\u2019S METROPOLIS<\/strong> A pinnacle of German cinema: such monsters as Caligari and Nosferatu fade in face of another nightmare, that of modern life. With a scenario inspired by Wells, Lang gives free rein to his architect\u2019s imagination \u2013 his initial vocation \u2013 with his impressive sets and crowd scenes which he skillfully handles. Coupled with this is the strength of such sequences as the slow march of the slaves in the subterranean city.<\/p>\n Did Hitler, who admired the film, derive from it his concept of the concentration camp? The end of the film however remains ambiguous. In 1959, Lang declared: “The conclusion is false. I did not accept it any more back then when I made the film.”<\/p>\n
\nIt is the twentieth century. Metropolis is a gigantic town, made with great skyscrapers at the top of which the masters live in luxurious flower gardens. In the dark depths of the city, countless sub-humans work and suffer silently, riveted to the machine which crushes them like the god Moloch.
\nA young lady, Maria, preaches resignation to the workers. Using her as a model, the mad professor Rotwang makes a female robot who ironically is to lead these slaves in revolt. Machines are destroyed and Metropolis’s rigourous order is shaken. But Freder Fredersen, the son of the master of Metropolis, with the help of the real Maria, who he loves, intervenes and, in front of the cathedral where the people have gathered, succeeds in reconciling the arm (of labour) with the brain (of capitalism). Can the humanist ideal get the better of the class struggle?<\/p>\n