In a futuristic city where workers toil underground, the privileged class lives in modern splendour, enjoying its Son's Club and Eternal Gardens. But when Freder (Frohlich), son of the city's master Joh (Abel), goes underground in search of the beautiful Maria (Helm), he discovers the dark truth firsthand.
Back home, he challenges his father to create a more just system, then he teams up with a dismissed factory manager (Loos) to help launch a rebellion.
Continue reading: Metropolis Review
The answer, in Spies, is arrived at so pleasurably that it puts all but the very best of the cloak and dagger genre to shame. The plot follows the efforts of a handsome undercover agent named only No. 326 (Willy Fritsch) to prevent a treaty with the Japanese from leaving his homeland (Germany, one assumes, although it's never specified) despite the efforts of an evil mastermind named Haghi (the wonderful Rudolf Klein-Rogge) to see that it does. A secret agent, as we all know, leads a life of danger, and so it is that No. 326 is distracted in his efforts by the beautiful Sonia (Gerda Maurus), herself a spy in Haghi's employ. No. 326 falls in love with Sonia; will he learn the truth in time? Sonia may have fallen in love with No. 326; has she? And, if so, will she follow her heart or her oath to see the treaty across the frontier?
Continue reading: Spies Review
Testament was the last film Lang made before the expanding Nazi regime forced him to flee Germany, bringing to a close the most creatively productive phase of his career. Lang's escape to America, and Nazi censors' decision to ban the film as a "threat to law and order and public safety," make it a milestone of art at odds with the ideology of the regime.
Continue reading: The Testament Of Dr. Mabuse Review
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