Correct me if I'm wrong, but didn't Moroder's restoration put back the same style of color tinting present in early silent presentations of the film?
I always admired Moroder's funding of the restoration work on "Metropolis" as his noble way of "giving back" to film history. His own score and his involvement of then-current pop-music figures gave the film a shot-in-the-arm/second chance before younger theatrical audiences who might not otherwise have known about it at all.
Correct me if I'm wrong, but didn't Moroder's restoration put back the same style of color tinting present in early silent presentations of the film?
I always admired Moroder's funding of the restoration work on "Metropolis" as his noble way of "giving back" to film history. His own score and his involvement of then-current pop-music figures gave the film a shot-in-the-arm/second chance before younger theatrical audiences who might not otherwise have known about it at all.
Agreed. Like or dislike his score (personally, I love his instrumental score, but dislike a lot of the pop songs -- especially Bonnie Tyler), but the restoration effort was INCREDIBLY important, and paved the way for later restorations of the film.
Moroder's "Metropolis" is more or less regarded as a novelty and/or an experiment today, but at the time it indeed significantly raised awareness of the film & through both its theatrical run and on the Vestron VHS it was many, many people's first exposure to the film (including myself, but I didn't rent the VHS until the 90s). I personally like it, but it's nothing like the most recent restoration.
And it wasn't "colorized," it actually restored the original color tinting many prints of "Metropolis" had.
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