Robotic Angel
Filmfest 2005

If any two dozen frames of METROPOLIS – enough to fill one second of screen time – were hung in a gallery, the sheer visual density and sensory stimulus would be overwhelming. The effect of almost two hours of exquisitely detailed and remarkably varied cityscapes, rendered in a palette of colors and light effects that would make a live-action cinematographer or an Italian Renaissance painter weep, is exhausting and exhilarating. The dream world of METROPOLIS is so intricate, so sublime, that the ordinary world seems to be the one missing a dimension. Rintaro's imaginary city is compounded of real space and fantasy time. Its skyscrapers and subterranean caverns are voluminous, and an illusory camera swoops upward past girders and mullions and down through dim alleyways and mazes of ductwork. In this futuristic landscape of hovering airships, electromagnetic doomsday weapons and exploited worker-robots live people who seem to come out of the 1930's. Their actions are accompanied by the kind of old-time jazz that Woody Allen uses for credit sequences, and, at a climactic moment of apocalyptic destruction, by Ray Charles singing 'I Can't Stop Loving You', backed by full orchestra and choir. A.O.Scott, The New York Times, 1-25-2002

tags: Animation


Director: Rintaro