Part 1
Introduction
The following is a detailed description of Fritz Lang's 1927 silent film classic Metropolis, broken down scene by scene, intertitle by intertitle. It is presented in four parts, with approximately 2000 lines briefly describing individual scenes and intertitles. The information contained in the table below is based primarily on the Digital Disc Entertainment (DDE) 1998 Video CD version of the film, run at 24 frames per second and deriving from an early 1960s American version of the film. Additional material is sourced from the Harry Davidson tinted print in the National Film and Sound Archives, Canberra, Australia (videotape copy run at 16 frames per second), and the Munich FilmMuseum restoration of 1995. Other assorted editions were also consulted, including the Georgio Moroder version of 1984. The times given within the table (minutes : seconds) refer primarily to the DDE version, with times from other versions given in brackets where extra scenes are included. Times associated with the original November 1926 edition of the film (as contained in the German intertitle card listing) are also indicated for comparison. They highlight the substantial discrepancies which now exist between the director's original cut - which ran for 228 minutes @ 16 frames per second, and extant versions of the film such as the Georgio Moroder edition which runs for only 83 minutes @ 24 frames per second. This represents a decrease of some 45% on the original film length.
A slightly more detailed version of the following table is also available in PDF format by clicking on the following link: Metropolis Scenes & Intertitles - Table (Part 1). The Adobe Acrobat Reader plug-in is required for this process.
Codes
The following codes / abbreviations are used within the table. Intertitle text is indicated in bold. Material associated with the 1926 Berlin Censor's Office intertitle card listings are in red. References to '1927 Tint' are as contained in the 'Harry Davidson' print, Canberra, Australia.
? - Missing scene
A27 - National Film and Sound Archives (ScreenSound), Canberra, Australia - Harry Davidson print
B/W - black and white
C26 - Berlin Censor's Office, Intertitle Card listing, November 1926
DDE - Digital Disc Entertainment CD Video 1998 - copy of Griggs Moviedrome edition of circa 1969
DYB - Dark yellow-brown tint
G69 - German television edition 1969
J86 - Jeff Films edition 1986
M84 - Georgio Moroder edition 1984
P95 - Enno Patalas' reconstruction / Munich Filmmuseum 1995
P-P - Purple-pinkish tint
Y-B - Yellow-brown tint
Part 1: Opening Titles to Georgy at Yoshiwara (Rolls 1 - 2, 57 minutes)
|
|
Version |
Start Time |
Scene / Intertitle details |
1927 Tint |
| Rolle 1 | C26 | 0.00 | [538 metres - 29 minutes 18 seconds at 16 fps] | |
| Channing Pollock Prologue | A27 | 0.00 | Adapted by Channing Pollock | B/W |
| A27 | 0.08 | An UFA Master Production / Directed by Fritz Lang | B/W | |
| A27 | 0.11 | Architecture and Settings: Otto Hunte, Eric Kettelhut, Karl Vollbrecht / Photography: Karl Freund, Günther Rittau | B/W | |
| A27 | 0.25 | Metropolis / From the Story by Thea von Harbou | Red/Brown | |
| A27 | 0.40 | Cast / John Masterman ...... Alfred Abel / Eric, his son ..... Gustav Froelich / Rotwang ..... Rudolf Klein-Rogge / Mary ..... Brigette Helm / Joseph ..... Theodor Loos / Number 7 ..... Heinrich George | B/W | |
| A27 | 1.02 | We live in a world of material achievement | B/W | |
| A27 | 1.11 | Still picture of cityscape from above | Olive | |
| A27 | 1.17 | Our generation has seen great strides in Science ... Invention ... Mechanical Proficiency. | B/W | |
| A27 | 1.30 | Still picture of machines | Olive | |
| A27 | 1.40 | We measure the distance to a star a billion miles away ... but have our aspirations lifted themselves nearer to the stars? | B/W | |
| A27 | 1.56 | Picture of telescope | Olive | |
| A27 | 2.05 | Our inventions turn out millions of luxuries ... all alike ... made by millions of men we are making more and more alike | B/W | |
| A27 | 2.22 | Still picture of row of cars off production line | Olive | |
| A27 | 2.28 | We have created amazing machines ... and used them to destroy our fellow men. | B/W | |
| A27 | 2.41 | Still picture of battleship guns | Olive | |
| A27 | 2.50 | But what of our hearts and minds? | B/W | |
| A27 | 2.55 | Where are we going? | B/W | |
| A27 | 3.00 | Shall we come to a reality like this visioned city of the future? | B/W | |
| A27 | 3.10 | [Introductory title graphics] Metropolis | B/W | |
| G69 | 0.00 | E.J.A Pietrek / zeigt / Perlender Filmkunst / Metropolis / eine Ufa-Produktion aus dem Jahre 1926. | B/W | |
| Georgio Moroder Prologue | M84 | 0.00 | The year is 2026, a Dickensian "best of times, worst of times," where total oppression and manipulation of the masses is wielded by the unquestionable power of the few. | B/W |
| M84 | 0.16 | Far below the City of Metropolis is the Underground City where machines are operated by the workers who live even further below. Day after day, in mechanical routine, they are forced to the limits of human endurance. | B/W | |
| M84 | 0.30 | Fritz Lang made this film in 1926. Against his wishes the film was subsequently shortened for its American release which left the story disjointed, difficult to comprehend and caused the loss of many scenes, most of which have disappeared forever. | B/W | |
| M84 | 0.46 | By following the original script, the novel of the film, recently discovered missing pieces of the film and photographs, Metropolis has been restored as close to its original conception as possible. | B/W | |
| M84 | 1.02 | Metropolis is now presented with a contemporary score, sound effects and colour. | B/W | |
| M84 | 1.15 | Lang once said: "To begin with I should say that I am a visual person. I experience with my eyes and never, or only rarely, with my ears - to my constant regret." | B/W | |
| M84 | 1.32 | Georgio Moroder presents | B/W | |
| M84 | 1.36 | Fritz Lang's ……. | B/W | |
| Opening credits | C26 | Metropolis | B/W | |
| DDE | 0.00 | Metropolis / Directed by Fritz Lang / 1926 | B/W | |
| DDE | 0.16 | Produced by UFA / Script by Thea von Harbou / Photography by Karl Freund and Gunther Rittau / design by Otto Hunte, Eric Kettelhut and K. Vollbrecht / Effects by the Eugen Shuftan Process | B/W | |
| DDE | 0.29 | Sound by Robert E. Lee | B/W | |
| DDE | 0.35 | Cast / Brigette Helm - Maria / Gustave Frolich - Freder / Rotwang - Rudolph Klein-Rogge / The Master of Metropolis - Alfred Abel | B/W | |
| Opening graphics | DDE | 0.47 | Metropolis animated graphic - Metropolis | Olive |
| DDE | - | Animated graphic - fades to cityscape with face in building | Olive | |
| DDE | - | Fades to machinery and gears operating | Sepia | |
| DDE | 1.30 | 10 hour clock counting down to zero | Sepia | |
| DDE | 1.35 | Fades to machinery and gears operating | Sepia | |
| DDE | 1.38 | 10 hour clock counting down - reaches zero | Sepia | |
| DDE | 1.42 | Steam whistle - end of shift | Olive | |
| Change of shift | C26 | 2 - - 1 | Schicht. [Shift] | B/W |
| A27 | 4.45 | Shift | B/W | |
| DDE | 1.48 | The Day Shift | B/W | |
| G69 | 1.03 | Die Tagesschicht | B/W | |
| M84 | 2.39 | The shift change | B/W | |
| M95 | Steam whistle - end of shift | Olive | ||
| DDE | 1.52 | Men changing shifts (close view) - no movement - gates rise - walking up white bricked corridor to lift, and out of lift down corridor - all stooped, marching slowly as a group | Y-B | |
| DDE | 1.59 | Men changing shifts (long view) - men begin to walk | Y-B | |
| DDE | 2.12 | Men changing shifts (side view) - one group walking, the other shuffling | Y-B | |
| A27 | 5.22 | Long view of men changing shift | Y-B | |
| DDE | 2.18 | Steam whistle - start of new shift | Y-B | |
| DDE | 2.19 | Lift 219 - men entering (view from behind) | Y-B | |
| DDE | 2.25 | Men changing shifts (side view) - walking past each other | Y-B | |
| DDE | 2.32 | Men entering lift 219 - gate goes up | Y-B | |
| DDE | 2.36 | Close up of stooped men in lift - lift goes down - men stooped | Y-B | |
| Underground city | C26 | 3 - - 1 | Tief unter der Erde lag die Stadt der Arbeiter. [Deep underground lay the city of the workers] | B/W |
| A27 | 6.25 | Deep down under the earth lay the workmen's city | B/W | |
| DDE | 2.51 | The workers' city, far below the surface of the earth | B/W | |
| G69 | 2.02 | Die Stadt der Arbeiter tief unter der Erdoberfläche. | B/W | |
| M84 | 3.25 | The workers' city, far below the surface of the earth | B/W | |
| DDE | 2.56 | Close up rear view, looking out of the lift, of stooped men in lift going down - arrive at underground city | Y-B | |
| DDE | 3.22 | Front view of lift arriving - gate goes down - men march out | Y-B | |
| DDE | 3.38 | Long shot of 3 lifts and men exiting in groups | Y-B | |
| DDE | 3.46 | Rear shot of groups of men walking from lifts towards central square and buildings of underground city (fade out) | Y-B | |
| Masterman Stadium | C26 | 4 - - 1 | So tief die Stadt der Arbeiter unter der Erde lag, so hoch über ihr türmte sich der Haüserblock, der "Club der Söhne" hiess, mit seinen Hörsälen und Bibliotheken, seinen Theatern und Stadions. [As deep as the worker's city lay underground, so high above it towered the complex known as the Club of the Sons, with its lecture-rooms, libraries, theatres and stadiums.] | B/W |
| A27 | 8.25 | As deep as the workmen's city lay under ground, so high above it towered the Masterman Stadium - gift of John Masterman the richest man in Metropolis. | B/W | |
| G69 | 3.12 | Und hier hoch oben ein paradiesischer Garten für die Söhne der Herren von Metropolis. | B/W | |
| M84 | 4.14 | As deep as The Worker's City lay underground, so high above towered the City of Metropolis and its stadiums, built for the sons of the chosen few. | B/W | |
| A27 | 8.47 | Long shot of right side of stadium, with crowd of men gathered by the running track starting line doing exercises | BWSO | |
| A27 | 8.54 | Close up of man talking - claps his hands together and calls them to gather round and prepare for start of race | BWSO | |
| A27 | 8.58 | Long shot of stadium, with athletes lining up at starting line | BWSO | |
| A27 | 9.01 | Close up shot of man raising hand to signify start of race | BWSO | |
| A27 | 9.02 | Ground shot along starting line of men crouched, ready to begin race | BWSO | |
| A27 | 9.03 | Close up shot of man dropping his hand and shouting "Go" | BWSO | |
| A27 | 9.04 | Long shot of stadium, with athletes setting off on race | BWSO | |
| A27 | 9.09 | Front shot of bare chested runners, with Freder in front - falls behind | BWSO | |
| A27 | 9.11 | Long shot of stadium - crowd runs off screen to left, towards finishing line | BWSO | |
| A27 | 9.14 | Long shot of left side of stadium - crowd arrives at finishing line | BWSO | |
| A27 | 9.22 | Front shot of runners, Freder in front | BWSO | |
| A27 | 9.24 | Long shot of left side of stadium - crowd at finishing line - runners finish, Freder first | BWSO | |
| C26 | 5 - - 1 | Väter, für die jede Umdrehung eines Maschinenrades Gold bedeutete, hatten ihren Söhnen das Wunder der Ewigen Gärten geschenkt. [The fathers - for whom every turn of a machine-wheel meant gold - created for their sons the wonder of the Eternal Gardens] | B/W | |
| A27 | 9.30 | But athletics were not the only diversions of gilded youth in Metropolis. | B/W | |
| DDE | 4.03 | And high above, a pleasure garden for the sons of the masters of Metropolis | B/W | |
| G69 | 3.13 | Und hier hoch oben ein paradiesischer Garten fur die Sohne der Herren von Metropolis. [And here high above, an idyllic garden for the sons of the lords of Metropolis] | B/W | |
| M84 | 4.59 | Other diversions were to be found in the Eternal Gardens of Pleasure. | B/W | |
| Pleasure Garden | A27 | 9.39 | Long shot of Pleasure Garden grove - Majordomo calling girls to him, underneath weird structure | P-P |
| C26 | 6 - - 1 | Majordomo: "Wer, meine Damen, hat heute den Vorzug, Herrn Freder, Joh Fredersens Sohn, Gesellschaft zu leisten?" [Who today, my ladies, has the honour to be the companion of Mister Freder, son of Joh Fredersen?] | B/W | |
| A27 | 9.52 | Close up of two girls - one on the left asks a question of the Majordomo | P-P | |
| A27 | 9.56 | Girl with hat practices her curtsy | P-P | |
| A27 | 9.59 | Girl with skirt gestures | P-P | |
| A27 | 10.02 | Long shot of girls in grove gathered round Majordomo - some disperse | P-P | |
| A27 | 10.06 | Close up shot of Majordomo talking to girls and asking hat girl to turn around | P-P | |
| A27 | 10.13 | Hat girl spins slowly around | P-P | |
| A27 | 10.15 | Close up of Majordomo showing girl how to turn around | P-P | |
| A27 | 10.19 | Hat girl turns | P-P | |
| A27 | 10.20 | Long shot of grove - girl runs in from right of screen chased by Freder - other girls playfully protect her and taunt him - the pair run off to left of screen | P-P | |
| A27 | 10.54 | [Fountain sequence begins] | P-P | |
| DDE | 4.10 | Freder chasing girl past (behind) fountain - peacock in front - Freder looses her and comes to front | P-P | |
| DDE | 4.15 | Girl standing behind fountain hiding - raises arms and shouts out to Freder | P-P | |
| C26 | 7 - - 1 | Pleasure Woman: "Freder - ! Freder - !" | B/W | |
| DDE | 4.18 | Pleasure Woman: "Freder!" | B/W | |
| G69 | 3.24 | Pleasure Woman: "Freder!" | B/W | |
| DDE | 4.20 | Freder turns to screen | P-P | |
| DDE | 4.21 | Girl with arms raised behind fountain | P-P | |
| DDE | 4.22 | Close up of Freder smiling as he looks for her | P-P | |
| DDE | 4.23 | Shot of fountain | P-P | |
| DDE | 4.24 | Girl on right side of fountain | P-P | |
| DDE | 4.25 | Freder on left side of fountain | P-P | |
| DDE | 4.27 | Shot of fountain - Freder and girl running around it | P-P | |
| DDE | 4.28 | Freder talking through water from fountain | P-P | |
| DDE | 4.29 | View of girl through water of fountain | P-P | |
| DDE | 4.31 | Freder splashing hand in water of fountain | P-P | |
| DDE | 4.32 | Shot of fountain - Freder and girl running around it | P-P | |
| DDE | 4.33 | Girl on right side of fountain - Freder enters from behind | P-P | |
| DDE | 4.35 | Girl on left side of fountain | P-P | |
| DDE | 4.36 | Freder splashes from right side of fountain | P-P | |
| DDE | 4.36 | Girl on left side of fountain - getting splashed | P-P | |
| DDE | 4.37 | Freder on right side of fountain - runs round to front | P-P | |
| DDE | 4.38 | Freder and girl embrace in front of fountain - she struggles - says No No - Freder prepares to kiss her | P-P | |
| DDE | 4.47 | Close up of Freder and girl embracing - circle around | P-P | |
| DDE | 4.54 | Long shot of doors - peacock in front | P-P | |
| DDE | 4.55 | Freder looks up | P-P | |
| Maria and Children | A27 | 11.30 | Every day, a little party of workmen's children were given an hour alongside the boundaries of their homes ... and, today, their guide had opened an unfamiliar door. | B/W |
| DDE | 4.57 | Long shot of doors opening - Maria opens doors and enters | P-P | |
| DDE | 5.05 | Freder takes arms from around girl - looks towards Maria and children | P-P | |
| DDE | 5.09 | Long shot of Maria and children entering through doors | P-P | |
| DDE | 5.18 | Closer shot (iris) of Maria entering, with arms around children | P-P | |
| A27 | 11.51 | Long shot of Maria and children | P-P | |
| DDE | 5.27 | Long shot of Freder and girl in front of fountain, staring at group - girl enters from left and others gather around | P-P | |
| A27 | 12.02 | [+ girl in dress enters from right, claps hands to break them out of their spell in staring at the group] | P-P | |
| DDE | 5.30 | Close up of Maria, staring hypnotically towards Pleasure Gardens - surrounded by children | P-P | |
| DDE | 5.34 | Freder staring at Maria, with girl holding on to him from behind - Freder moves towards group, pushes girl away gently | P-P | |
| DDE | 5.37 | Closer shot of Maria surrounded by children and speaking - she raises her arms | P-P | |
| C26 | 8 - - 1 | Maria: "Seht, das sind Eure Brüder!" [Look, these are your brothers!] | B/W | |
| A27 | 12.22 | Maria: "Look, children - these are your brothers - your sisters!" | B/W | |
| DDE | 5.40 | Maria: "Look, these are your brothers." | B/W | |
| G69 | 4.44 | Maria: "Dies sind alles Deine Brüder." | B/W | |
| M84 | 6.45 | Maria: "Look, children, these are your brothers and sisters." | B/W | |
| DDE | 5.43 | Maria turns head and looks down to children - points out people in Pleasure Gardens | P-P | |
| C26 | 9 - - 1 | Maria: "Seht - - !" [Look - - !] | B/W | |
| A27 | 12.35 | Maria: "Look!" | B/W | |
| DDE | 5.48 | Long shot of group in Pleasure Gardens, staring intently at Maria and children | P-P | |
| C26 | 10 - - 1 | Maria: "Das sind Eure Brüder!" [These are your brothers!] | B/W | |
| A27 | 12.40 | Maria: "These are your brothers - your sisters!" | B/W | |
| DDE | 5.51 | Freder staring at Maria, with girl behind | P-P | |
| DDE | 5.54 | Close up of Maria's face - begins to smile and look forlornly towards him | P-P | |
| DDE | 5.59 | Freder staring at Maria, with girl behind | P-P | |
| A27 | 12.56 | Maria and children | P-P | |
| A27 | 13.00 | Servants enter from the right and left | P-P | |
| A27 | 13.04 | Long shot of grove - Majordomo walking briskly towards group, waving his arms for them to be removed | P-P | |
| DDE | 6.01 | Long shot of Maria and children, with servants surrounding them - Majordomo enters from left - walks back and forward urging servants to remove the group | P-P | |
| DDE | 6.11 | Close shot of Maria and children, with servant on left moving them towards the door - Maria confronts man, indicating by her look that he should not touch the children - he looks at her, cowers, and steps back | P-P | |
| A27 | 13.28 | [+ Maria stares at men entering from right - they cower back] | P-P | |
| DDE | 6.15 | Close shot of Maria's face - hand on heart - staring out of screen | P-P | |
| A27 | 13.38 | Freder staring at group, hand on heart - girl behind speaks gently to him | P-P | |
| DDE | 6.18 | Shot of Maria and children, surrounded by servants - she looks down, turns around and ushers the children towards the door | P-P | |
| DDE | 6.29 | Close up shot of Freder, clutching his heart as he looks on - girl tries to get his attention, but he gently pushes her away | P-P | |
| DDE | 6.37 | Long shot of doors closing and group exiting, followed by servants | P-P | |
| DDE | 6.42 | Shot of Freder stepping down from fountain and walking towards Majordomo and doors | P-P | |
| A27 | 14.28 | [+ shot of girl standing alone by fountain] | P-P | |
| A27 | 14.34 | Freder approaches Majordomo at steps - Majordomo explains and apologises | P-P | |
| A27 | 14.40 | Side view of Freder and Majordomo talking - Freder asks a question | P-P | |
| C26 | 11 - - 1 | Freder: "Wer - was das?" [Who was that?] | B/W | |
| A27 | 14.50 | Freder: "Who was that?" | B/W | |
| DDE | 6.44 | Freder: "Who was that?" | B/W | |
| G69 | 5.44 | Freder: "Wer war das?" | B/W | |
| DDE | 6.46 | Freder standing on steps near door - approached by Majordomo as doors close | P-P | |
| A27 | 14.52 | Side view of Freder and Majordomo talking - Majordomo answers | P-P | |
| A27 | 14.55 | Majordomo: "No one who could possibly interest the son of John Masterman - she comes from the workmen's homes." | B/W | |
| DDE | 6.50 | Majordomo: "Just the daughter of a worker." | B/W | |
| G69 | 5.50 | Majordomo: "Nur die Tochter eines Arbeiters." [Just the daughter of one of the workers.] | B/W | |
| M84 | 7.28 | Majordomo: "Only the daughter of some worker." | B/W | |
| A27 | 15.08 | Freder and Majordomo - Majordomo rubs his bald head with a handkerchief, due to stress and running | P-P | |
| A27 | 15.15 | Eric had often thought of the workmen who toiled in the depths - had wondered how they lived - and why nobody seemed to care. | B/W | |
| A27 | 15.28 | Shot of Freder thinking, Majordomo to left of him | P-P | |
| A27 | 15.40 | Panoramic shot of Pleasure Gardens | P-P | |
| DDE | 6.52 | Freder clutches hands to chest as Majordomo looks on from left - he walks briskly off to left of screen | P-P | |
| DDE | 6.57 | Freder walks towards doors - he walks through - fade out | P-P | |
| Machine rooms and Moloch | C26 | 12 - - 1 | Dies aber war das Erleben Freders - Joh Fredersens, des Herrn über Metropolis, Sohn - - auf der Suche nach dem Mädchen: [But this, however, was the experience of Freder - son of Joh Fredersen, the Master of Metropolis - during his search for the girl:] | B/W |
| A27 | 16.20 | As mysteriously as she appeared so she had vanished - and Eric, in his futile search, came on the threshold of a strange world. | B/W | |
| G69 | 6.05 | Die gewaltigen Maschinen in der Tiefe und hoch über ihnen die Stadt. [The powerful machines in the depths and high above them the city.] | B/W | |
| DDE | 7.06 | The great machines, far underground, yet high above the workers' city. | B/W | |
| M84 | 7.42 | As mysteriously as she came so she vanished. In Freder's desperate search for her he came upon the threshold of an alien world. | B/W | |
| DDE | 7.14 | Freder walking amongst machines - long shot | Y-B | |
| DDE | 7.28 | Freder at ground level, walking between concrete bases, looking up - startled by large machine | Y-B | |
| DDE | 7.32 | Moloch machine (long view) - working in rhythm | Y-B | |
| DDE | 7.40 | Close up side view of Moloch machine | Y-B | |
| DDE | 7.44 | Close up front view of workers at Moloch machine | Y-B | |
| DDE | 7.48 | Close up front view of workers at Moloch machine, looking upwards | Y-B | |
| DDE | 7.51 | Close up front view of workers at Moloch machine | Y-B | |
| DDE | 7.53 | Moloch machine (long view) | Y-B | |
| DDE | 7.58 | Man working at Moloch dials and levers | Y-B | |
| DDE | 8.02 | Close up of elderly man struggling with Moloch dials and levers - falls on to knees | Y-B | |
| DDE | 8.07 | Temperature / pressure gauge rising | Y-B | |
| DDE | 8.13 | Man struggling with dials and levers | Y-B | |
| DDE | 8.16 | View from above of man struggling with dials and levers | Y-B | |
| DDE | 8.18 | Temperature / pressure gauge rising | Y-B | |
| DDE | 8.22 | View from above of man panicking as he watches gauge rise | Y-B | |
| DDE | 8.25 | Hand reaches for relief valve | Y-B | |
| DDE | 8.28 | Temperature / pressure gauge rising | Y-B | |
| DDE | 8.30 | Moloch machine (long view) | Y-B | |
| DDE | 8.38 | Temperature / pressure gauge rising | Y-B | |
| DDE | 8.40 | Moloch machine (long view) - steam emitted constantly | Y-B | |
| DDE | 8.48 | Freder at ground level, walking between concrete bases, looking up at Moloch machine and workers | Y-B | |
| DDE | 8.49 | Moloch machine (long view) | Y-B | |
| DDE | 8.52 | Temperature / pressure gauge rising to limit | Y-B | |
| DDE | 8.53 | Moloch machine (long view) - increase in steam output within machine | Y-B | |
| DDE | 8.54 | Gas explosion blow worker backward | Y-B | |
| DDE | 8.55 | Freder runs towards explosion - is blown backwards against wall | Y-B | |
| DDE | 8.57 | Moloch machine (long view) - explosion - men thrown about | Y-B | |
| DDE | 8.59 | Close up of Moloch steam explosion - bodies | Y-B | |
| DDE | 9.01 | Moloch machine (long view) - explosion - bodies | Y-B | |
| A27 | 19.20 | Freder on ground - clutches back - begins to get up | Y-B | |
| DDE | 9.03 | Base of Moloch machine- worker with shredded clothes, others on ground | Y-B | |
| DDE | 9.06 | Freder on ground - gets up | Y-B | |
| DDE | 9.07 | Steam and Moloch transformation begins | Y-B | |
| DDE | 9.12 | Close up of Freder staring at Moloch machine | Y-B | |
| C26 | 13 - - 1 | Freder: "MOLOCH!" | B/W | |
| DDE | 9.15 | Freder: "MOLOCH!" | B/W | |
| G69 | 8.08 | Freder: "MOLOCH!" | B/W | |
| DDE | 9.16 | Moloch transformation - slaves on steps | Y-B | |
| A27 | 19.55 | In these hungry machines, Eric saw that ancient God into whose fiery mouth the Phoenicians drove their human sacrifices. | B/W | |
| DDE | 9.22 | Close up of Freder against wall - raises hands to face | Y-B | |
| DDE | 9.26 | Medium shot of slaves being fed to Moloch by overseers and masked men. Close up of entrance with two masked figures on either side | Y-B | |
| A27 | 20.25 | Very close up view of slaves being dragged up stairs | Y-B | |
| A27 | 20.30 | Medium shot of workers thrown into Moloch | Y-B | |
| DDE | 9.34 | Freder raises arms and shields himself from the view - throws up arms and shouts | Y-B | |
| DDE | 9.36 | Long view of slaves being fed to Moloch by overseers with wips - followed by lines of workers - transformation back to machine begins | Y-B | |
| DDE | 10.21 | Moloch transformation back to machine | Y-B | |
| DDE | 10.21 | Freder on knees against wall - raises arm towards scene of disaster | Y-B | |
| DDE | 10.24 | Long shot of injured workers being carried off Moloch machine, down steps - new workers arrive to take their place | Y-B | |
| DDE | 10.32 | Workers on stretchers and in arms being carried past Freder as he leans against wall, clutching his heart - he gets up and approaches them - no-one notices him | Y-B | |
| DDE | 10.52 | Moloch machine - last injured workers removed - new workers carry on | Y-B | |
| DDE | 11.02 | Freder looks up at machine - runs off to right of screen | Y-B | |
| DDE | 11.07 | View of stairway, Freder running towards white limousine | BWS | |
| DDE | 11.10 | View of Freder at open door of limousine - talking to driver | BWS | |
| C26 | 14 - - 1 | Freder: "Zum Neuen Turm Babel - zu meinem Vater - !" [To the New Tower of Babel - to my father - !] | B/W | |
| A27 | 22.55 | Freder: "To my father." | B/W | |
| DDE | 11.11 | Freder: "To my father." | B/W | |
| G69 | 9.08 | Freder: "Fahren Sie mich zu meinem Vater!" [Take me to my father!] | B/W | |
| DDE | 11.13 | View of Freder getting into limousine - it pulls away | BWS | |
| A27 | 23.03 | [End of scene] | - | |
| Rolle 1 - end | C26 | 29.18 | [538 metres - 29 minutes 18 seconds at 16 fps] | - |
| Rolle 2 - start | C26 | 29.18 | [515 metres - 28 minutes at 16 fps] | - |
| Metropolis cityscape | DDE | 11.16 | Overhead carriageways in Metropolis cityscape - workers walk by on lower carriageway - white limousine drives by on upper carriageway | Sepia |
| DDE | 11.32 | View of Metropolis street and aerial carriageways - workers walking on lower carriageway - trains go past, planes and zeppelin flying by | Sepia | |
| DDE | 11.40 | View in Metropolis looking down on cars in street and trains | Sepia | |
| DDE | 11.44 | View of Metropolis cityscape with New Tower of Babel in background | Sepia | |
| Joh Fredersen's Office | A27 | 24.26 | Long shot of Joh's office, looking towards Josaphat in background, with Joh's desk on the right | Y-B |
| A27 | 24.30 | John Masterman - Brain of Metropolis | B/W | |
| A27 | 24.34 | Joh walks past secretaries twice - thinking and dictating - they frantically take notes | Y-B | |
| DDE | 11.57 | View from Joh Fredersen's desk looking towards large window which looks out on Metropolis - Joh enters from left, thinking and dictatin |