The prominent science fiction movie that HG Wells hated

The 1927 science fiction epic appears from Fritz Lang The best movies in all agesAnd it is definitely one of the most important science fiction works that have ever produced. “Metropolis” is in an industrial future where the wealthy live in the world in accurately created towers, and the mobility via fictional BLIMPS and airlines. They are involved in a trivial romantic misunderstanding, and they enjoy enjoying gardens that eat rich foods. Meanwhile, under the city, poor workers work literally to death to keep the machines to operate.

One of the most prominent wealthy wealth in the city is Frieder (Gustav Fruhlich), who, through an event, is witnessing a protest against peaceful workers. He immediately becomes the extensive of Maria (Brigitte Heimal), who is the movement of the movement’s porous, and becomes curious about workers ’life already. It moves under the ground and sees sweat, oil and terrorism first. The machines, as he says, like a hungry evil god (“” Molosh! “) Who eats people alive. Meanwhile, Verder’s father (Alfred Abel) was conspiring with a crazy scientist (Rudolph Klein Rouge) who aims to build a duplicate robot from Maria. The plan is to repeat the robot back to the underground, make a violent uprising stage, and use violence as an excuse to kill the working classes.

It is hardly accurate, but it is strong. To this day, about a century after a century, the masses are being hypnotized by “Metropolis”, and the cinema school still has in their curriculum.

But she was not always deeply loved. In fact, deep diving in the film reviews in the late 1920s reveals a few critics who were late by the successful melodrama and super messages. actually, Review 1927 New York Times It was a collection of complaints about telling stone stories and sharp policy.

It was written by Sci-Fi Master HG Wells, author of “The Time Machine”, “Invisible Man”, “World War” and “Dr. Moro Island”.

It may be difficult to read the page of the news stationary on the New York Times, so Fortunately, WAID copied the entire review. This sentence begins, “I recently seen the most magical movie. I don’t think it will be possible to make more than the heroes.” Which … Yush. The shots were launched, Herbert. Perhaps this was just a blow to the ego if it came from any other critic, but Wales was already a firm master, so he became particularly harsh. The length of the review is 2,880 words, and each note is Barb. Wells continued:

“It gives almost one possible concentration, all potential foolishness, clichés, platea, and tangible about mechanical progress and general progress in general served with a sauce of feelings that are all.”

Although he confessed that “perhaps this vortex I do not like this soup because I find fragments decomposing my work for thirty years,” the sleeper wakes up, “floats in it.” It is a fair point. There is no doubt that the mastered Lang movie was inspired by Wales’s works. Wales is likely to be just upset that his ideas were, in his eyes, had been subjected to a new car.

Wales was not above nittPicking, however. He pointed out that future aircraft seem like modern aircraft, and that the cars displayed were 1926 models. He said that the pictures, which were often praised by critics. Amazing Art Deco designs And high -end expressive liberation, barely new, and only represents a mixture of science fiction images that he was already. It is a fair point. One can find a science fiction selection before “Metropolis”, which is characterized by similar pictures on its covers.

More than anything else, Wales criticized “Metropolis” for its dated political positions. He felt that Lang was at least 30 years outside of anything local. He wrote: “Far in the year 1897,” may have been symbolized by symbolizing social relations in this way, but that was thirty years ago, and a lot of thinking (and some experience) interfered. “

More than anything else, Wales may have been very optimistic about accepting the “Metropolis” hypothesis. He writes at length about how the automatic future will not require workers who resemble the slave, and the layer will disappear, in a high -tech world. Wales depicts approximately half communism Jin Rodenberry is like the future Where technology will weaken the world, and there will be no need to distinguish between the rich and the poor. I felt that the machines would deal with all the work, and the class division of society would collapse. “What this movie expects is not unemployment,” he wrote, but the work, which is exactly what passes.

On this point, in 2025, we may be able to accuse wells of being naive. We are here in the future, and financial inequality is now greater than it was before. The constant greed and thirst did not explain the control caused by the world billionaire category. Wells did not rely on the volatile wealth by Bruce technology. The toil did not pass, and the shape would barely change. Technology, I will be sad to tell him, and did not save us.

Wales hated an end to her, describing it like this:

“There is some good screaming in the water, and after the best traditions of cinema, some violence and unconvincing in the tools, destroying and destroying the tools, and then, in mixing, one (Frine) collects a lesson, and this workers and employers now must be reconciled through” love. ” One does not think for a moment any of this foolish story. ”

Yowch again.

Wales ended his review of the note that “Metropolis” was terribly common, and that his offer was full of enthusiastic fans, pending dazzling. Wales had a very satirical vision for the masses, and writing:

“I assume that there are many people who are” drawn “by promising to show what a hundred -year -old city will be. Before them they believe that” Metropolis “was already possible expectations or not.

Wales was not the only one to hate “Metropolis” when he was issued. The critic of diversity Publish their review in 1926They praised the Lange production design, but it was simply postponed. The critic (which is attributed only as “diversity staff”) wrote, “It is so bad that a lot of artwork is really wasted in this manufactured story.”

Of course, in the next century, “Metropolis” was re -evaluated, lost, found, cut, re -assembled and reassembled, and has now settled in a world famous for a overwhelming majority. Most reviews on spoiled tomatoes are four -star reviews of experts who have had an opportunity to study the Lankan work. It is also important to remember, though, that it will not attract every movie for everyone. Even your films, my dear reader, are ideal or unavailable that may be deeply hated by critics who, if they are doing their work properly, will be able to clarify their views briefly.

I love “Metropolis”, personally, but I can see where Wales comes from. However, I feel comfortable The new version did not come to pass it.