Metropolis

Arguably the first SF film ever made, Metropolis deserves recognition for much more. Its aesthetic tastes are solid: the vaulting, Art Deco of the ruling, futuristic upper-world contrasted with the crumbling mortar of the oppressed who build the future, yet are barred from it. The special effects were groundbreaking for their time, yet still have the power to awe. Today's is the digital and computerized reign of Industrial Light and Magic, but Metropolis' effects and …showed first 75 words of 254 total…

…showed last 75 words of 254 total…modern-day filmgoer. Director Fritz Lang's style is German expressionism: highly manneristic, exaggerated, redolent with symbolism -- not the realism of present-day shoot-'em-ups and character-driven plots. Metropolis is also a silent picture, with few subtitles -- another obstacle for audiences used to very commercial, dialogue-studded modern films. The rewards are worth the labor, though, because the effects and art design are beautifully wrought and the worker-ruler-technology conflict, however simplified, reaches beyond the average scope of SF.