You already now something of Fritz Lang or you would not be reading this. Lotte Eisner goes further in depth in which Fritz is and what he has accomplished through the years.
There is a small Fritz Lang: Autobiography
Then the book is chronologically divided between the German years 1919-1933 and the American period of 1936-1956. Then it goes to the German years of 1959-60.

Because I have a large collection of German silent films this book is a must in helping understand those messages that are not intrinsic to the viewer.

This book of interviews with the German director Fritz Lang represents the best introduction to his career. Lang spells out what to work for the movies really means. Lang analyzes the magic of the Hollywood productions as well as the shadows of the star system. These interviews illustrate the nightmares and despair of a creative director struggling with the Hollywood tycoons. In this respect, Lang presents the Hollywood producters of the 1940s and 50s as being more interested in money than in cinema. His portrait of them is somewhat bitter but represents an essential guide to understand the very entrails of Hollywood's production.The book is an invitation to appreciate the ethical and aesthetic dimensions of Lang's cinema. The book will represent a source of inspiration for new directors.

This is a brilliant large-format book. It charts the Jewish/
Austrian film director's traumatic flight from Nazi Berlin in 1933 to Paris, then to permanent exile in Hollywood. We witness
his struggles with moguls, producers, actors and crew who were
unable to cope with his innate perfectionism. His life and his
films are inextricably entwined. The detailed text is backed
by relevant documents: unstamped passports, love-letters to and from Marlene Dietrich, scrawled film notes, reports of witch-
hunts, and stunning photographs of Lang at work on his many
films. The book is a fitting tribute to our Last Dinosaur. I
highly recommend it to everyone who loves films.

With this version of "M," Jon J. Muth updates the visual of Fritz Lang's classic screen play. The story is told through Muth's stunning photo-realistic charcoal sketches, that mold Lang's cinematic tale to fit perfectly into a graphic novel format. "M" is yet another example of the heights to which visual and verbal storytelling can soar.

Peter Bogdanovich has written a book that is for the movie enthusiast. I suspect the general reader may find some of the interviewees obscure, and the topics technical. I feel that is their loss. For the student of film or film history, this is a treasure trove of information, ideas, experiences, and feelings about films taken from interviews with some of the most distinguished directors in movie history. The author's selection is not encyclopedic, but the directors' experience spans from the earliest years of silent film to the present. These men are not just informative, but their strong and distinctive personalities show in each interview, giving the sense that one has actually met and understood many of them. Some of the interviews are brief, or even very idiosyncratic, but the best are delightfully personal. This is a long book, but affords many pleasant evenings of good conversation. It also makes one want to go back and see the films again!

Peter Bogdanovich pioneered the director interview in English, and this wonderful collection will give endless pleasure to film buffs. The book-length interview with Allan Dwan alone is worth the price of admission. Bogdanovich always did vast amounts of study before sitting down to talk with his subjects, and his expertise and enthusiasm encouraged them to open up in a way they usually did not with other interviewers. Anyone writing about the careers of the directors Bogdanovich interviews has to start with his work on them. A fitting companion piece is Bogdanovich's encyclopedic interview book "This Is Orson Welles."

The title was suggested by Howard Hawks who once observed, "...I liked almost anybody that made you realize who in the devil was making the picture...Because the director's the storyteller and should have his own method of telling it." Hawks is one of the 16 "legendary film directors" represented in this volume. It is important to keep in mind that these are conversations rather than interviews such as those conducted by Robert J. Emery in The Directors: Take One and its sequel, The Directors Take Two, as well as interviews conducted by Richard Schickel in The Men Who Made the Movies. It is also worth noting that Bogdanovich is himself a distinguished director of films such as The Last Picture Show, What's Up, Doc?, They All Laughed (a personal favorite of mine), and Texasville. As a result of his own background, Bogdanovich's questions and comments reflect somewhat different interests and perspectives than do those of Emery and Schickel.

I rate all of these books Five Stars but probably enjoyed reading Bogdanovich's book the most because the conversations ramble along somewhat messily, as most of my own conversations tend to do, and also because Bogdanovich is more actively involved in the interaction than Emery and Schickel are. As a reader, I feel as if I were really an eavesdropper as 16 directors casually share their opinions, information about specific films and actors, gossip, "war stories," and overall evaluations of their careers' various successes and failures. At no time does Bogdanovich seem intrusive or manipulative. Moreover, perhaps to an extent he did not realize when writing this book, he also reveals a great deal about himself...much of it endearing and some of it admirable. His passion for film making and his appreciation of the great directors are almost palpable. Readers' interests about various directors and their respective films obviously vary. I include myself among those who are die-hard film buffs and so I enjoyed reading every chapter and every word in each chapter. Indeed, each conversation was for this amateur "gourmet" a feast to be consumed with delight and, yes, gratitude.

...a serious missed opportunity. McGilligan wrote this bio as a man sitting in judgment, holding Lang to a standard so high that the most PC contemporary couldn't possibly meet it.

Whatever Lang does is wrong, no matter what the circumstances. Take his flight from the Nazis. McGilligan discovers serious contradictions in Lang's account of his strange and frightening confrontation with Goebbels. McGilligan's conclusion? That Lang was a Nazi sympathizer himself, the evidence being a delay of two months in leaving Germany. This is nonsense. The book itself demonstrates that Lang made more anti-Nazi films (one in the midst of the isolationist period) than any other director. Thea von Harbou, on the other hand, a full-bore party member who stuck it out until the bitter end, is handled with kid gloves.

A slight contradiction there, as there is in the account of the blacklist era, where Lang, already burned by one gang of political extremists, is condemned for not adequately defending another, clearly portrayed as dishonest and untrustworthy. The man just can't win.

McGilligan also gets some very well-known Hollywood stories wrong (see the Harry Cohn story on p. 398).

Lang may have been a flawed genius, but he was a genius, and deserves to be treated as such (see "Print the Legend" by Scott Eymas to see how it's done). His definitive biography remains to be written. This ain't it.

(The book also suffers from the standard execrable St. Martins copyediting job: "If it ain't in spellcheck, it don't matter!")

McGilligan is a demon researcher, digging up facts, comparing contradictory stories, and writing in a very clear and readable prose. But this book amounts to a steady, unrelenting attack on the character of Fritz Lang, and is even needlessly dismissive of many of his movies.

McGilligan suggests Lang murdered his first wife and that he was a Nazi sympathizer; the former is highly unlikely, the latter is demonstrably false. If anyone has a kind word to say about Lang, their comments are relegated to the last few lines of a paragaph that's otherwise devoted to attacking the director. Lang evidently really was a tyrant on the set, but he also made many friends over the course of his career. It's interesting to note that McGilligan didn't bother to interview Michel Piccoli, the French actor whom Lang regarded almost as an unadopted son.

McGilligan seems to have had an agenda, which was to depict Lang as a completely unsympathetic "beast" (as in the title). NO biographer, especially one as ambitious as McGilligan, should ever present their material with a strong bias, positive or negative. McGilligan's work is more important and meaningful than that of, say, Charles Higham, but this kind of bias dramatically reduces the value of his work.

Did you know, dear reader, that Fritz Lang invented the backward countdown that is now a staple of blastoff protocol? We can't ever say art doesn't influence life! It becomes clear though that Mr Lang tried very hard to influence the facts so that some important parts of his lifescript were rewritten to make a better story. For example, his "escape" from Nazi Germany which reads like an inferior Hitchcock. But no less than Braque or Malevich in painting, film artists deserve study too. There are many problems facing the student of the latter however, as the film making process might involve thousands of individuals - the analysis can be quite daunting not to mention whose perspective is the more valid amongst the thousands. Author Mr McGilligan is up to the task. It may be that the qualities of Mr Lang revealed by his research - fastidious attention to detail, healthy ego, obsessive number of takes, authoritarian manner on the job - may be the very ones that made him many enemies as well as a great movie maker. Henry Fonda for one loathed Mr Lang 'til the day he died. Mr McGilligan overcomes the problem of what is "true" by giving the reader the best evidence of alternative viewpoints and invites the reader to choose. For example, Mr Lang may have murdered his first wife, or she may have committed suicide with his gun after discovering him and his mistress flagrante delicto. Either way Mr Lang was in some ways a nasty piece of work. He was also elegant, intelligent, a high decorated Viennese war hero, art collector, painter, of Jewish ancestry on one side of his family, who fully participated in the decadence of 1920's Berlin, and 1930's Hollywood. His appetite for sex and drugs is covered in the book. Even in old age he accepted the "services" of an admiring fan and frequented prostitutes almost to his last days. Nevertheless, the creator of TESTAMENT of DR MABUSE, METROPOLIS, RANCHO NOTORIOUS and THE BIG HEAT was a great enough talent to be paid homage to by GODARD and BUNUEL. Whether your taste runs to the production process of film making, the clash of huge egos, eg, Spencer Tracy V Fritz Lang, gossip, or a part-history of 20th century cinema, or analysis of the life and work of one of its great artists, then this book is a real treat.

While it is good to have the novel METROPOLIS available once again, it is a pity the presentation couldn't have been better and more professional. The stills from the film are badly reproduced and look like they went through a poor fax. The posters are in poor black & white instead of color.
In addition, since METROPOLIS is a short novel, it would have been quite easy to add a couple of chapters. One excellent one would have been a reprint of the "Famous Monsters" articles of several decades ago that dealth with the film's special effects. Another article of interest would've been a discussion of the restortation efforts on this film, especially with another restoration to come out this year and, I believe, to be released by Kino Video on DVD next year.

But, no, this was an excellent opportunity wasted by a shoddy presentation.

Thea von Harbou's book is the indispensable companion to Fritz Lang's immortal film. As most people know, Lang's film was butchered by German and American editors-we have lost about 25% of the film. Essential scenes and many of the subplots were deleted to make it fit within a small time frame. Reality Check: The shorter the film, the more times they can show it, and the more money they collect. Consequently, with the best of restorations, we are seeing a film with as many gaps as a hockey player's smile.

This book, which was serially published before the film's release, fills in the gaps. You get a better sense of the story that Lang and von Harbou are trying the tell. The book allows you to get inside the heads of Freder and co. in a way that the film does not allow. You get a stronger feel for the dystopic milieu that Freder fixes.

This story is essentially mythic, so devotees of Joseph Campbell, George Lucas, and James N. Frey will devour the book and the film. You see the messianic and redemptive elements that makes this story so enduring. This story is one of my favorites, and rates with anything C. S. Lewis, J. R. R. Tolkein wrote, although not with the same level of craftsmanship.

This particular edition is the 75th anniversary edition. It includes an introductory essay by Forrest J. Ackerman, a Metropolis aficionado. It is illustrated with a few movie sills, and several movie posters from German and American screenings. These illustration selection could have been better, and for crying out loud, next time please do not put the pictures in sideways!

The only drawback with this book is the size-it is 8 ½ by 11, as opposed to the normal novel-book size of 7 by 4. It is awkward to read and hold. It feels in my hands more like a coffee-table picture book than a novel. So it is a little hard to read in this fashion. The translation, however, is readable, and doesn't have an "Germanisms."

I'm not sure if this book "stands alone" apart from the film. It wasn't conceived as such, but was more of a segway for the film. However, the story or the "feel" of the times and perplexities of the dystopic Metropolis. In this sense, the book achieves it's purpous.

Anything that lasts 75 years is worth investigating. I love film and am glad that I own the novel so doubles my cinematic pleasure.

This 75th Anniversary edition of Metropolis had been completely re-scanned and the book reprinted on improved presses (as of 10/2002) so that the interior illustrations and quality are much improved. A very nice present for the holidays and a fitting companion to the recently released digital version of the original film.

METROPOLIS is a masterful piece of cinema. I've heard people talk about this movie for most of my life and how it inspired filmmakers and brought about a new type of moviemaking. Some of the scenes become fixed into one's mind and have become engrained into our culture.

Unfortunately, I had never seen METROPOLIS until I bought this Madacy version of the movie. I bought the DVD for a whopping (Money). I knew that the quality was probably going to bad (I only paid (Money)), but I never expected it to be this bad. I wish I could have read some of the reviews here at Amazon first. Much of the printed narrative at the very beginning of the film is completely cut off the screen. The film is rather grainy and at points it is difficult to see anything on the screen. Also, there are several times throughout the movie that the film skips like a scratched record. My only positive comment about the film is that I did enjoy the musical score, it reminded me of sitting in a theatre and listening to an orchrestra perform while a silent picture was being projected onto a screen.

The movie METROPOLIS deserves five stars. This DVD, would have gotten only one star, but because I still came away enjoying the film and because I liked the score, I give it two stars. Now I just have to wait until the Vino DVD version comes out and I can sell this puppy for fifty cents.

"Metropolis",Fritz Lang's 1927 silent masterpiece,is one of the most important films ever made and also a great one! But over the years,this film has been reedited,recut,and shortened which ruins the exact vision of an extrordinary filmmaker.Since its stay on the Public Domain shelf,the prints and image quality have over the years been poor.I DO NOT recommend the following versions:1.the Goodtimes Video release has poor image quality and even worse,NO MUSICAL SCORE! 2.The now-notorious Madacy DVD, which is about 5 times as worse as the Goodtimes video release,contains horrible,blurry image quality,freeze-frame opening titles,and an annoying musical score! Just recently,TCM (Turner Classic Movies) has broadcast the brand-new,beautifully restored 2002 restoration of "Metropolis" which I taped off of and trust me,it's well worth it! Buy the Kino restored version on either VHS or DVD,but DO NOT buy the horrible Public Domain versions which can definitely rip you off! A Terrific film and thanks to Kino for making this restored version a definite must-see! I also recommend the 1984 rerelease by Giorgio Moroder (which is now unfortunately out-of-print)and buy the soundtrack to go with it!

I never saw Metropolis except for small sections referenced by other films. It always appealed to me and I finally took a risk buying this used for cheap. Even at an inexpensive price I'd strongly advise to skip this version.

As others have noted the trasfer is terrible, the music is good but sound quality is terrible too. Having watched this version of Metropolis I was able to get some kind of plot out of it and even with the poor film transfer the imagry is at times stunning.

Here's my advice; if you just have to see Metropolis and do not want to pay the substantially high price of the Kino version buy this copy, but understand...and please take my word on this as I'm one of the people that made a similar decision, know that you are getting poor quality all around.

Whether this will ruin the film's experience for you has more to do with your aesthetics. Metropolis has major historical importance and watching it I could see where other favorite dystopian films liberally borrowed ideas. In the end it was acceptable for the price I paid. I would not buy this new and would cough up the extra money and get the Kino version if buying it new. I will be purchasing the latest DVD eventually just to be able to enjoy the superior quality.

5 stars for the film being wonderful 0 stars for the quality. The average would be 2.5 and although it's a great film Metropolis is gutted by this poor DVD. When reading reviews it is easy to take it personal, that a poor review of the DVD (a product) in some way says something negative towards the film on it. In this review the quality of the film is the only reason more than one star was given.

My last parting shot...
The reason I even bothered with the Mandacy product was because so many negative reviews on Amazon have been baseless or inane one line insults I have become numb to them. Take it from a usually easy to please reviewer. Stay away from this DVD.