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metropolis16.jpg

According to the BBC, most of the remaining scenes from Fritz Lang’s 1927 film Metropolis have been discovered in the Museum of Cinema in Buenos Aires:

Around 20 to 25 minutes of footage that fleshes out secondary characters and sheds light on the plot would be added to the film pending restoration…but around 5 minutes of the original was probably still missing.

This is obviously great news for cinephiles, and will bring us much closer to experiencing the story as Lang intended.  But a film fan has apparently been begging the Argentinian Museum of Cinema to check their archives for Metropolis footage since the 1980s, so while this is a coup, it’s also makes you wonder what people in the various film museums around the world really do all day?  Fund raise, of course.  Play a few games of Freecell while they absorb that first cup of coffee, that’s a given.  But why can’t each of them just hire some temps, hand out flashlights and Playtex gloves, and say, “Go down into the vault and dig through those stacks of film cans; after you find London After Midnight, or the Theda Bara Cleopatra you can take lunch.”

Granted, it would be slow, dirty, even dangerous work, and perhaps the average guy or girl working for Apple Temps would rather just answer the phones at some Century City law firm, then sneak out at 3:30 to make an audition.  But once we pull out of Iraq, there’s going to be a lot of Blackwater mercenaries who suddenly find themselves without contracts, or carte blanche to shoot random citizens as they ram through traffic in an up-armored SUV.  So rather than just dump them back on the streets of Anytown, USA, I suggest a gentle transitioning program, the first part of which will involve keeping them underground in a cool, dark place with a large amount of highly volatile silver nitrate film stock.

12 Responses to ““Rotwang! I…Am Your Mother!””

Here’s a thought–how about cataloging your shit? I mean, you’re an archive. The whole point of being an archive is to have a list of your shit, right?

Then again, if people weren’t so incompetent at this shit, we’d never have unexpected discoveries at these places, which would take some of the fun out of life I guess.

Best to use cotton gloves and see just in what condition the nitrate is in before trumpeting a find. I often don’t understand archives finding material years later when they’ve held it forever. They could get volunteers to do the cataloging.

FYI, they found a radically different version of one of Buster Keaton’s silent features this year. Which one, where it was found, and how it’s different is being kept a closely guarded secret until the Keaton film festival later this year. It’s considered the biggest Keaton find since James Mason looked in Buster’s old shed in the fifties.

i was I was so happy that day that I made a little analyses of the architecture NEW and OLD scenes included.
have a look http://www.blog.ar2com.de/metrop…lang-1926-2008/

Well, that’s two things I learned today before my second cuppa: I had no idea Metropolis was a film maudit, and I didn’t realize it had a story.

One of my favorite moviegoing experiences, though, as a double bill with M c. 1973, with Lee Erwin playing the incredible pipe organ at the old Rivoli Theatre.

Ah, the great Lee. If memory serves, I saw him play the score for Fairbanks’ Robin Hood at the Beacon Theater on the Upper West Side back in the mid-80s.

sorry the link for architecture in metropolis is http://www.ar2com.de/radiofavela-blog/metropolis-by-fritz-lang-1926-2008/

Whoa, there kiddies. I’ve worked in an archive, and anyone who thinks that archivists just don’t give a shit what they are holding and just can’t be bothered to find out clearly have no clue about archives.

Most archives are staffed by really dedicated folks who deeply care about preserving their collections and making those collections available for viewing. However, they are also understaffed and woefully underfunded.

Anyone who thinks that archival cataloging can be done by “volunteers” rather than trained profesionals have no idea what they are talking about. And anyone who thinks that it is just a matter of taking a look and seeing what is there, also has no idea what they are talking about.

How long do you think it takes to catalog each document in a medium size collection of manuscript pages, say 500 linear feet? Think it can be done by volunteer who just shows up two afternoons a week, knows nothing about the collection, has no idea what is important and what is junk, and probably quits in a month when they realize how tedious the process is?

It is hard enough to manage paper collections, I can’t imagine the added complexities of old film, which needs to be handled with care lest it blow up and take the building with it.

So, give the archivists a break. You want more old film stock? Send them a great, big check and quite calling them “incompetent.” And when they do uncover cool stuff, say “thank you!” rather than “fucking about time you losers.”

The Buster find is really intriguing. My guess is it’s a pre-release screening print, as Buster often re-edited and even shot additional footage after gauging audience reaction. Any new footage from his silent features is an extraordinary find, but it would be really amazing if it included the elaborate underwater traffic jam gag involving 1,200 rubber fish with Buster pinning a starfish to his chest and playing traffic cop, which was cut from The Navigator after it didn’t play well at previews.

So, give the archivists a break.

All I’m saying is, don’t sit on a treasure trove and do nothing but whine about how you don’t have the time or resources to manage it. What I wouldn’t give to have a vault full of classic films–I’d never leave the fucking house, I can assure you.

Indeed, Me. Archivists whine about being understaffed/underfunded when there are hundreds of people out there with some expertise that could be of use to them. A raw novice may well not know what is an important document and one that isn’t, but those with a knowledge of history would be better equipped to know. A paper archives could be cataloged by those with training in the relevant fields, whereas film archivists could use the talents of those who have photographic, cinematographic and related experiences to assess the titles, source, condition, and completeness of the materials. Chrissakes, I know how to handle nitrate (although I’m not certified to project it), how to use a Moviola, and have more than a passing knowledge of silents. Quitcherbitching and DO SOMETHING instead of carping about lack of manpower. Do you think I wouldn’t jump at the chance to be an archivist myself even with the lousy wages?

I really believe some archivists would prefer to have their holdings rot before they’d let the great unwashed touch their precious holdings. It’s not like it hasn’t already happened.

mndean, I doubt, you have ever worked in an archive. Indeed, I suspect you have never visited an archive.

On the one hand you are convinced, with little or no evidence, that archivists don’t give a shit about preserving their material and making it available (which is, after all, their central mission). On the other you’d LOVE to help them, but gosh, you just have never done so.

Go do it. Lend them your expertise. Is it their fault you’ve never worked in an archive, or yours?

strong bones of course need calcium and magnesium so always take your calcium supplements” 

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