Skip Navigation

Frame by Frame

Posts Tagged ‘Special Effects’

Behind The Scenes of Fritz Lang’s Metropolis (1927)

Sunday, September 13th, 2015

This fantastic behind-the-scenes photo shows workers on the set for the futuristic city of Metropolis.

As Wikipedia aptly notes, “Metropolis is a 1927 German expressionist epic science-fiction drama film directed by Fritz Lang. Lang and his wife Thea von Harbou wrote the silent film, which starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G.. It is regarded as a pioneering work of the science-fiction genre in movies, being among the first feature length movies of the genre.

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city’s ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Filming took place in 1925 at a cost of approximately five million Reichsmarks, making it the most expensive film ever released up to that point. The motion picture’s futuristic style shows the influence of the work of the Futurist Italian architect Antonio Sant’Elia.

The film met with a mixed response upon its initial release, with many critics praising its technical achievements and social metaphors while others derided its ’simplistic and naïve’ presentation. Because of its long running-time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere, and large portions of the film went missing over the subsequent decades.

A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001, and the film was inscribed on UNESCO’s Memory of the World Register in the same year, the first film thus distinguished. In 2008 a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.”

Personally, I find the shorter cut preferable; the scenes found in Argentina were from a deeply scratched 16mm dupe negative, and even the most advanced digital technology made the sequences barely watchable. And it also seems to me that Lang more than makes his point in the previously existing 2 hour version, released by Kino in the US.

Nevertheless, no matter how you look at it, there would be no Blade Runner, no Star Wars, or any other Dystopian 99% vs. the 1% sci-fi film without the example of Metropolis, one of the most influential and socially significant films ever made, and one of Fritz Lang’s undisputed masterpieces.

If you haven’t seen it, check it out now!

Reset! More Than 700 Posts On This Blog! Back To The Top!

Saturday, September 12th, 2015

There are more than 700 entries on this blog. Click on the button above to go back to the top.

Frame by Frame began more than four years ago with a post on Nicholas Ray– now, with more than 700 posts & much more to come, we’re listed on Amazon, in the New York Times blogroll, and elsewhere on the net, as well as being referenced in Wikipedia and numerous other online journals and reference websites.

With thousands of hits every day, we hope to keep posting new material on films and people in films that matter, as well as on related issues, commercial free, with truly open access, for the entire film community. So look back and see what we’ve been up to, and page through the past to the present.

There are also more than 70 videos on film history, theory and criticism to check out on the Frame by Frame video blog, arranged in carousel fashion to automatically play one after the other, on everything from Fritz Lang’s Metropolis to film aspect ratios, to discussions of pan and scan, Criterion video discs, and a whole lot more.

So go back and see what you’ve been missing – you can always use the search box in the upper right hand corner to see if your favorite film or director is listed, but if not, drop me a line and we’ll see if we can’t do something about it. We’ve just updated our storage space on the blog, so there will be plenty more to come, so check it out – see you at the movies!

Click on the image above & see what you can find!

Norman McLaren’s Pas de deux (1968) – A Forgotten Classic

Wednesday, June 24th, 2015

Norman McLaren’s classic short film Pas de deux deserves a wider audience.

Growing up, this film was everywhere, and now it seems to have vanished from our collective memory. It’s a superb short film by the gifted animator Norman McLaren, created near the end of his long career at the National Film Board of Canada. As the NFB notes, in this hypnotic film McLaren uses “cinema effects that are all that you would expect from this master of improvisation in music and illustration. By exposing the same frames as many as ten times, the artist creates a multiple image of the ballerina and her partner (Margaret Mercier and Vincent Warren).” Pas de deux received 17 awards, including the 1969 BAFTA Award for Best Animated Film and an Academy Award nomination.

This is just another of the many, many brilliant short and feature films that have been plowed under by the relentless onslaught of mainstream multiplex fare; and while there are numerous bootleg copies of this film circulating on the web, even one with a supposedly “enhanced” music track, which one commenter rightly noted was “an insult to McLaren,” this is the original version, as uploaded by the NFB to Vimeo, and thus available to all to watch, and marvel at. Pas de deux was made near the end of the photochemical era of moving image production, and McLaren and his associates push the limits of conventional optical printing to their absolute edge in this film, which remains as entrancing as it was when first created.

There really isn’t much more to say; I’ll let the film speak for itself.

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

Frame by Frame Videos on Film History, Theory, and Criticism

Tuesday, June 24th, 2014

Here’s a carousel of more than sixty videos in my Frame by Frame series; click here, or above, to play!

Frame by Frame is a series of short videos I made with Curt Bright on film theory, history, and criticism — each is about 3 minutes long or so. Episodes of Frame by Frame cover The Hollywood Blacklist, Ridley Scott, Commercials in Movie Theaters, Inception, 3-D, Film Critics, War Movies, Film Composers, Buster Keaton, Charlie Chaplin, Subtitles vs. Dubbing, The Aura, John Ford, Remakes, Special Effects, John Huston, Ridley Scott, Fritz Lang, Howard Hawks, Alice Guy Blaché, Oscar Micheaux, Horror Movies, Deep Focus, Pan and Scan, Jean-Luc Godard, Camera Movement, Metropolis, Psycho, Movie Trailers, Laurel and Hardy, The Three Stooges, Minorities in American Film, The King’s Speech, Alfred Hitchcock, The Great Gatsby in 3-D, Digital Cinema, Special Effects, John Huston, Manoel de Oliveira, Orson Welles, Martin Scorsese, Westerns, Nicholas Ray, Busby Berkeley, Claire Denis, Woody Allen, Film Archives, George Cukor, Roger Corman, Billy Wilder, trailers, the Hollywood Ratings System, and many other topics.

Check it out! Useful for your classes; feel free to download as you see fit; use as you wish.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

RSS Frame By Frame Videos

  • Frame by Frame: Science Fiction Futurism
    UNL Film Studies Professor Wheeler Winston Dixon discusses the 2015 Ridley Scott film "The Martian," and the accuracy (and often inaccuracy) of science-fiction films at predicting real advancements in science and technology. […]
  • Frame by Frame: Batman v Superman
    UNL Film Studies Professor Wheeler Winston Dixon discusses the genre of comic book movies in the context of "Batman v Superman."  […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website