The Roman Roads and Bridges You Can Still Travel Today

Rare indeed is the ancient-his­to­ry buff who has nev­er dreamed of walk­ing the roads of the Roman Empire. But unlike many long­ings stoked by inter­est in the dis­tant past, that one can actu­al­ly be ful­filled. As explained in the video above from Youtube chan­nel Intrigued Mind, a fair few Roman roads remain in exis­tence today, albeit only in sec­tions, and most­ly ruined ones at that. “Like oth­er incred­i­ble mon­u­ments that still stand, as if to prove the pow­er of the Roman Empire, there are a sur­pris­ing num­ber of Roman roads still in use today,” some con­vert­ed into mod­ern high­ways, but “many still paved with their orig­i­nal cob­ble­stones.”

Of all such roads, none has more impor­tance than the Via Appia, or Appi­an Way, whose con­struc­tion began back in 312 BC. “The first long road out­side of the greater city of Rome that was­n’t Etr­uscan,” it “allowed Romans to make their first major con­quest” and begin their mighty empire’s “con­quest of the world.” With­out under­stand­ing the sto­ried Via Appia, none of us can tru­ly under­stand Roman his­to­ry. But to grasp the con­text of the Roman Empire, we can hard­ly ignore the even old­er roads like the Via Domi­tia, which was “the road Han­ni­bal used to invade Italy, 100 years before the Romans claimed it” — not to men­tion an impor­tant set­ting in the Greek myth of Her­a­cles.

You can still cross one of the Via Domi­ti­a’s bridges, the Pont Julien in the south of France. In that same coun­try stand the more-or-less intact Pont Fla­vian, orig­i­nal­ly built along the Via Julia Augus­ta, and the Pont du Gard, the most famous and ele­gant Roman aque­duct of them all. Nor should enthu­si­asts of Roman infra­struc­ture miss the Alcan­tara Bridge in Spain, the Man­fred Bridge in Ger­many, or the ruins of Tra­jan’s Bridge — made into ruins delib­er­ate­ly, by Tra­jan’s suc­ces­sor Hadri­an — in Roma­nia. The most seri­ous among them will also want to go as far as the Mid­dle East and trav­el the Via Maris, which con­nect­ed Egypt to Syr­ia, and the remains of the bridge across Cae­sar’s Dam in Iran.

Iran belonged, of course, not to the Roman Empire but the Per­sian one. But “leg­end has it that the Per­sian emper­or cap­tured the Roman emper­or and forced him to use his army to build the dam and the beau­ti­ful bridge to cross it.” All was fair, it seems, in the expan­sion and con­flict of ancient empires, and the ruins scat­tered across their vast for­mer ter­ri­to­ries tes­ti­fy to that. Though much less tech­no­log­i­cal­ly advanced than, say, mod­ern free­way sys­tems, the Roman roads that sur­vive have proven sur­pris­ing­ly robust, a phe­nom­e­non exam­ined in the video just above by his­to­ry Youtu­ber Told in Stone — a Chicagoan, inci­den­tal­ly, who acknowl­edges that the Via Appia has nev­er had to take a Windy City win­ter.

Relat­ed con­tent:

The First Tran­sit Map: a Close Look at the Sub­way-Style Tab­u­la Peutin­ge­ri­ana of the 5th-Cen­tu­ry Roman Empire

How Did the Romans Make Con­crete That Lasts Longer Than Mod­ern Con­crete? The Mys­tery Final­ly Solved

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Björk, Age 11, Read a Christmas Nativity Story on an Icelandic TV Special (1976)

The hol­i­days can be hard, start­ing in Octo­ber when the red and green dec­o­ra­tions begin muscling in on the Hal­loween aisle.

Most Won­der­ful Time of the Year, you say? Oh, go stuff a stock­ing in it, Andy Williams!

The major­i­ty of us have more in com­mon with the Grinch, Scrooge, and/or the Lit­tle Match Girl.

Still, it’s hard to resist the preter­nat­u­ral­ly mature 11-year-old Björk read­ing the nativ­i­ty sto­ry in her native Ice­landic, backed by unsmil­ing old­er kids from the Children’s Music School in Reyk­javík.

Par­tic­u­lar­ly since I myself do not speak Ice­landic.

The fact that it’s in black and white is mere­ly the blue­ber­ries on the spiced cab­bage.

It speaks high­ly of the Ice­landic approach to edu­ca­tion that a prin­ci­pal’s office reg­u­lar who report­ed­ly chafed at her school’s “retro, con­stant Beethoven and Bach bol­locks” cur­ricu­lum was award­ed the plum part in this 1976 Christ­mas spe­cial for the Nation­al Broad­cast­ing Ser­vice.

It would also appear that lit­tle Björk, the fierce­ly self-reliant latchkey kid of a Bohemi­an sin­gle moth­er, was far and away the most charis­mat­ic kid enrolled in the Bar­namúsik­skóli.

(Less than a year lat­er her self-titled first album sold 7000 copies in Iceland—a mod­est amount com­pared to Adele’s debut, maybe, but c’mon, the kid was 11! And Ice­land’s pop­u­la­tion at the time was a cou­ple hun­dred thou­sand and change.)

As to the above per­for­mance’s reli­gious slant, it wasn’t a reflec­tion of her per­son­al beliefs. As she told the UK music webzine Drowned in Sound in 2011:

…nature is my reli­gion, in a way… I think every­body has their own pri­vate reli­gion. I guess what both­ers me is when mil­lions have the same one. It just can’t be true. It’s just…what?

Still, it prob­a­bly was­n’t too con­tro­ver­sial that the pro­gram­mers elect­ed to cleave to the rea­son in the sea­son. Ice­landic church atten­dance may be low-key, but the over­whelm­ing major­i­ty of its cit­i­zens iden­ti­fy as Luther­an, or some oth­er Chris­t­ian denom­i­na­tion.

(They also believe in elves and 13 for­mer­ly fear­some Yule Lads, descen­dants of the ogres Grýla and Lep­palúði. By the time Björk appeared on earth, they had long since evolved, through a com­bi­na­tion of for­eign influ­ence and pub­lic decree, into the kinder, gen­tler, not quite San­ta-esque ver­sion, address­ing the stu­dio audi­ence at the top of the act.)

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Hear the Album Björk Record­ed as an 11-Year-Old: Fea­tures Cov­er Art Pro­vid­ed By Her Mom (1977)

A Young Björk Decon­structs (Phys­i­cal­ly & The­o­ret­i­cal­ly) a Tele­vi­sion in a Delight­ful Retro Video

Björk Presents Ground­break­ing Exper­i­men­tal Musi­cians on the BBC’s Mod­ern Min­i­mal­ists (1997)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She is proud to orig­i­nat­ed the role of Santa’s mor­tal con­sort, Mary, in her Jew­ish hus­band Greg Kotis’ Nordic-themed hol­i­day fan­ta­sia, The Truth About San­ta. Fol­low her @AyunHalliday

The History of Western Art in 23 Minutes: From the Prehistoric to the Contemporary

Among the ranks of Open Cul­ture read­ers, there are no doubt more than a few art-his­to­ry majors. Per­haps you’ve stud­ied the sub­ject your­self, at one time or anoth­er — and per­haps you find that by now, you remem­ber only cer­tain scat­tered artists, works, and move­ments. What you need is a grand nar­ra­tive, a broad sto­ry of art itself, and that’s just what you’ll find in the video above from Youtube chan­nel Behind the Mas­ter­piece. True to its title, “A Brief His­to­ry of Art Move­ments” briefly describes, and pro­vides a host of visu­al exam­ples to illus­trate, 22 phas­es in the devel­op­ment of art in just 23 min­utes.

The jour­ney begins in pre­his­to­ry, with cave paint­ings from 40,000 years ago appar­ent­ly cre­at­ed “as a way to share infor­ma­tion.” Then comes the art of antiq­ui­ty, when increas­ing­ly lit­er­ate soci­eties “start­ed cre­at­ing the ear­li­est nat­u­ral­is­tic images of human beings,” not least to enforce “reli­gious and polit­i­cal ide­olo­gies.” The reli­gios­i­ty inten­si­fied in the Mid­dle Ages, when artists “depict­ed clear, icon­ic images of reli­gious fig­ures” — as well as their odd­ly aged-look­ing babies — “and dec­o­rat­ed them with exten­sive use of gold and jew­els as a way to attract more peo­ple to the church.”

When many us think of art his­to­ry — whether we stud­ied it or not — our minds go straight to the sub­se­quent peri­od, the Renais­sance, dur­ing which “artists start­ed to appre­ci­ate cul­tur­al sub­jects like art, music, and the­ater” as well. They cre­at­ed “por­trait paint­ings, anatom­i­cal­ly cor­rect sculp­tures, and sym­met­ri­cal archi­tec­ture,” and the inven­tion of the print­ing press great­ly expand­ed the pool of poten­tial appre­ci­a­tors. Then, in the Baroque move­ment, enor­mous­ly skilled artists like Berni­ni and Car­avag­gio “empha­sized extrav­a­gance and emo­tion,” and oth­er forms fol­lowed suit with more intense embell­ish­ments of their own.

From eigh­teenth-cen­tu­ry France emerged the “play­ful and utopi­an” Roco­co peri­od, which was fol­lowed by the back­ward-look­ing “inter­est in renewed sim­plic­i­ty” that char­ac­ter­ized Neo­clas­si­cism, which was fol­lowed by Roman­ti­cism, a move­ment whose artists “looked with­in and found inspi­ra­tion in their own imag­i­na­tions, and the nature around them.” It was the lev­el­ing French Rev­o­lu­tion that brought about the con­di­tions for the rise of Real­ism, with its focus on “depict­ing real peo­ple in every­day life,” the kind of sub­jects to that point over­looked in major works of art.

In the sec­ond half of the nine­teenth cen­tu­ry the devel­op­ment of art hit the gas, bring­ing on the imper­fect vital­i­ty of Impres­sion­ism, the dar­ing sub­jec­tiv­i­ty of Post-Impres­sion­ism, the extreme sub­jec­tiv­i­ty of Expres­sion­ism, and the sin­u­ous lux­u­ry of Art Nou­veau. Tech­nol­o­gy had always been a fac­tor in how art changes, but in the twen­ti­eth cen­tu­ry — as Cubism gave way to Futur­ism, Dadaism, Sur­re­al­ism, and the Bauhaus — it came to the fore. This brings us up to liv­ing mem­o­ry: move­ments like Abstract Expres­sion­ism, Pop Art, Min­i­mal­ism, and the incli­na­tion of today’s artists to deal in “ideas rather than aes­thet­ics,” all on dis­play in most any muse­um you care to vis­it. Or at least they are in the muse­ums of the West, there being, after all, a whole world of oth­er art his­to­ries out there to under­stand besides.

Relat­ed con­tent:

Free Art & Art His­to­ry Cours­es

An Online Guide to 350 Inter­na­tion­al Art Styles & Move­ments: An Invalu­able Resource for Stu­dents & Enthu­si­asts of Art His­to­ry

100,000 Free Art His­to­ry Texts Now Avail­able Online Thanks to the Get­ty Research Por­tal

An Intro­duc­tion to 100 Impor­tant Paint­ings with Videos Cre­at­ed by Smarthis­to­ry

One Minute Art His­to­ry: Cen­turies of Artis­tic Styles Get Packed Into a Short Exper­i­men­tal Ani­ma­tion

Tate Kids Presents Intro­duc­tions to Art Move­ments: Cubism, Impres­sion­ism, Sur­re­al­ism & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Junky’s Christmas: William S. Burrough’s Dark Claymation Christmas Film Produced by Francis Ford Coppola (1993)

Back in 1993, the Beat writer William S. Bur­roughs wrote and nar­rat­ed a 21 minute clay­ma­tion Christ­mas film. And, as you can well imag­ine, it’s not your nor­mal hap­py Christ­mas flick. Nope, this film – The Junky’s Christ­mas – is all about Dan­ny the Car­wiper, a junkie, who spends Christ­mas Day try­ing to score a fix. Even­tu­al­ly he finds the Christ­mas spir­it when he shares some mor­phine with a young man suf­fer­ing from kid­ney stones, giv­ing him the “immac­u­late fix.” There you have it. And, oh, did we men­tion that the film was pro­duced by Fran­cis Ford Cop­po­la?

Relat­ed Con­tent:

William S. Bur­roughs’ Scathing “Thanks­giv­ing Prayer,” Shot by Gus Van Sant

Andy Warhol’s Christ­mas Art

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

NYC’s Iconic Punk Club CBGBs Comes Alive in a Brilliant Short Animation, Using David Godlis’ Photos of Patti Smith, The Ramones & More

Atten­tion young artists: don’t let your day job kill your dream.

In the mid-70s, David Godlis kept body and soul togeth­er by work­ing as an assis­tant in a pho­tog­ra­phy stu­dio, but his ambi­tion was to join the ranks of his street pho­tog­ra­ph­er idols — Robert Frank, Diane Arbus, Gar­ry Wino­grand, and Lee Fried­lan­der, to name a few.

As Godlis told Ser­gio Burns of Street Pho­tog­ra­phy, “the 60’s and 70’s were great for pho­tog­ra­phers:”

The 35mm cam­era was kind of like the new afford­able tech­nol­o­gy of the day. Like hav­ing an iPhone you couldn’t talk on. Cool to look at, fun to use. Pho­tog­ra­phy was only just begin­ning to be con­sid­ered an art form. Which left plen­ty of room for invent­ing your­self. The movie Blow-Up showed off the kind of cool lifestyle that could be had. Pho­tog­ra­phy seemed both adven­tur­ous and artis­tic. There were obvi­ous­ly a mil­lion career paths for pho­tog­ra­phers back then. From the sub­lime to the ridicu­lous. But plen­ty of oppor­tu­ni­ties to exper­i­ment and find your own way.

Still, it’s a tough propo­si­tion, being a street pho­tog­ra­ph­er whose day job gob­bles all avail­able light.

Or rather, it was until Godlis blun­dered into New York’s late, great punk club, CBGB’s, and resolved to “take street pic­tures at night with­out a flash, and make all these peo­ple look as inter­est­ing as a Ramones’ song sounds.”

In broth­ers Lewie and Noah Klosters’ won­der­ful hybrid ani­ma­tion, Shots in the Dark with David Godlis, we see things fall into place as Godlis exper­i­ments with expo­sure times, dark­room chem­i­cal ratios, paper grade, and the street­lights lin­ing the Bow­ery.

He wound up with a brac­ing per­son­al style…and some of the most icon­ic shots in rock his­to­ry.

The Klosters, who were grant­ed full access to Godlis’ dig­i­tal archive (a request Lewie Klosters likened to “ask­ing the pres­i­dent for the nuke codes”), breathe extra life into this bygone scene by hand-cut­ting and pup­peteer­ing images of such stal­warts as The Ramones, Pat­ti Smith, Tele­vi­sion, Richard Hell, Talk­ing Heads, Alex Chilton, and Blondie.

Those who inhab­it­ed the scene in an off­stage capac­i­ty are also giv­en their due, from the door atten­dant and the bar­tender with the Dee Dee Ramone hair­cut to own­er Hilly Kristal, his dog, and the cool kid patrons pack­ing the leg­en­dar­i­ly filthy estab­lish­ment.

This seems to be a reflec­tion of the irre­press­ible, and end­less­ly curi­ous Godlis’ world view. As Lewie, who had 16 hours of audio inter­view to draw from, told the Vimeo blog’s Ina Pira:

Ken Burns could make his next 20 hour doc­u­men­tary on Godlis alone. If you ever bump into him, and you will — he’s every­where all at once in the Vil­lage, ask him about some of our favorite sto­ries that hit the cut­ting room floor: Jager at the Revlon Bar, the bum piss­ing out the win­dow, when he was held at gun­point in Boston, about Merv and the Heinekens, and see­ing Bob Dylan win­dow shop­ping. Just to name a few.

The final moments of Shots in the Dark with David Godlis are bit­ter­sweet. The film­mak­ers’ sub­ject sums it up best:

 Noth­ing lasts for­ev­er, but you also have to know what will be of inter­est when it’s gone.

Relat­ed Con­tent 

CBGB’s Hey­day: Watch The Ramones, The Dead Boys, Bad Brains, Talk­ing Heads & Blondie Per­form Live (1974–1982)

Pat­ti Smith Plays Songs by The Ramones, Rolling Stones, Lou Reed & More on CBGB’s Clos­ing Night (2006)

AC/DC Plays a Short Gig at CBGB in 1977: Hear Met­al Being Played on Punk’s Hal­lowed Grounds

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

The Avant-Garde Animated Films of Walter Ruttmann, Still Strikingly Fresh a Century Later (1921–1925)

Though regard­ed by many as near-impos­si­bly dif­fi­cult to judge, avant-garde art can be put to its own test of time: does it still feel new ten, twen­ty, fifty, a hun­dred years lat­er? Now that most of Wal­ter Ruttman­n’s short ani­mat­ed films have passed the cen­tu­ry mark, we can with some con­fi­dence say they pass that test. A few years ago, we fea­tured here on Open Cul­ture his Licht­spiel Opus 1, the first avant-garde ani­ma­tion ever made. Now, with this playlist, you can watch it and sev­er­al of its suc­ces­sors, which togeth­er date from the years 1921 through 1925.

“A trained archi­tect and painter,” writes Car­toon Brew’s Amid Ami­di, Ruttmann “worked as a graph­ic design­er pri­or to becom­ing involved with film. He fought in WWI, suf­fered a ner­vous break­down and spent time recov­er­ing in a sana­to­ri­um.”

It was after that har­row­ing expe­ri­ence that he plunged into the still-new medi­um of ani­ma­tion, and he evi­dent­ly brought the com­bined aes­thet­ic refine­ment of archi­tec­ture, paint­ing, and graph­ic design with him. His four-part Opus series (top) shows us “how abstract ani­ma­tion doesn’t become dat­ed as quick­ly as rep­re­sen­ta­tion­al ani­ma­tion because its cre­ation is not pred­i­cat­ed upon the styl­is­tic trap­pings of its era.”

This also holds true for Ruttman­n’s adver­tis­ing work, includ­ing the three-minute Der Sieger just above. Por­tray­ing “the strug­gles of a durable Excel­sior tire that climbs entire build­ings and wraps itself around the sun to pro­tect it from tri­an­gu­lar shapes with mean-look­ing faces,” as this sum­ma­ry of a talk by film schol­ar Michael Cow­an puts it, the short “is a per­fect exam­ple tes­ti­fy­ing to how a lot of avant-garde artists — con­trary to pop­u­lar belief — nev­er lost sight for a cer­tain applic­a­bil­i­ty of their art in that their con­cepts of form also implied a cer­tain idea of ‘form­ing’: the poten­tial to take dif­fer­ent shapes through mor­ph­ing, to find order­ing prin­ci­ples, or even to com­mu­ni­cate the ide­o­log­i­cal impe­tus of form­ing a nation­al body.”

That last holds espe­cial­ly true for Ruttman­n’s “lat­er work with­in the con­text of Nation­al Social­ism”: an unfor­tu­nate-sound­ing con­text, though it must be not­ed that he dis­pleased Adolf Hitler enough to be per­son­al­ly removed by the dic­ta­tor from the project that would become Leni Riefen­stahl’s Tri­umph of the Will. His artis­tic phi­los­o­phy may have been com­pat­i­ble with sell­ing tires, but it seems not to have served the much more bom­bas­tic and lit­er­al form of Nazi pro­pa­gan­da. That is, of course, to Ruttman’s cred­it, as is the fresh­ness his ear­ly ani­ma­tions still exude these hun­dred or so years lat­er. As Amid writes, “the graph­ic forms used in his film are the same build­ing blocks — raw and unadorned — used by artists today.” But how many artists today use them with such ele­gance?

Relat­ed con­tent:

The First Avant-Garde Ani­ma­tion: Watch Wal­ter Ruttmann’s Licht­spiel Opus 1 (1921)

The First Mas­ter­pieces of Abstract Film: Hans Richter’s Rhyth­mus 21 (1921) & Viking Eggeling’s Sym­phonie Diag­o­nale (1924)

Opti­cal Poems by Oskar Fischinger, the Avant-Garde Ani­ma­tor Despised by Hitler, Dissed by Dis­ney

The Exper­i­men­tal Abstract Films of Pio­neer­ing Amer­i­can Ani­ma­tor Mary Ellen Bute (1930s-1950s)

Spheres Dance to the Music of Bach, Per­formed by Glenn Gould: An Ani­ma­tion from 1969

The Gold­en Age of Berlin Comes to Life in the Clas­sic, Avant-Garde Film, Berlin: Sym­pho­ny of a Metrop­o­lis (1927)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Behold Beautiful Original Movie Posters for Metropolis from France, Sweden, Germany, Japan & Beyond

Of Fritz Lang’s Metrop­o­lis, the crit­ic Siegfried Kra­cauer wrote that “the Amer­i­cans rel­ished its tech­ni­cal excel­lence; the Eng­lish remained aloof; the French were stirred by a film which seemed to them a blend of Wag­n­er and Krupp, and on the whole an alarm­ing sign of Ger­many’s vital­i­ty.” By Wag­n­er, Kra­cauer of course meant the com­pos­er; Krupp referred to the arms man­u­fac­tur­er Friedrich Krupp AG. We must remem­ber that Metrop­o­lis first came out in the Ger­many of 1927, and thus into a sociopo­lit­i­cal con­text grow­ing more volatile by the moment.

But the film also came out in the gold­en age of silent cin­e­ma, and every seri­ous movie­go­er in the world must have been enor­mous­ly eager for a glimpse of the spec­ta­cle of the elab­o­rate dystopi­an future Lang and his col­lab­o­ra­tors had put onscreen.

And screen around the world that spec­ta­cle did, albeit in a ver­sion cen­sored and oth­er­wise cut in a vari­ety of ways that Lang found ter­ri­bly dis­pleas­ing. How­ev­er bowd­ler­ized the Metrop­o­lis seen by so many back then, it proved to be so much of an attrac­tion that its adver­tis­ing mate­ri­als became near­ly as artis­tic as the film itself.

At Stephen O’Don­nel­l’s blog Gods and Fool­ish Grandeur, you can see a selec­tion of the posters for Metrop­o­lis put up dur­ing the late nine­teen-twen­ties and ear­ly nine­teen-thir­ties in the movie the­aters of var­i­ous coun­tries, includ­ing Swe­den, France, Japan, and Aus­tralia.

All are visu­al­ly strik­ing, but it prob­a­bly comes as no sur­prise that the Amer­i­can ones — prod­ucts, after all, of the cul­ture that gave rise to Hol­ly­wood — get espe­cial­ly breath­less with the accom­pa­ny­ing text.

“FANTASTIC FUTURISTIC FATALISTIC,” promis­es one poster, but not with­out adding “IMAGINARY IMPRESSIVE IMPOSSIBLE” and “EROTIC EXOTIC ERRATIC.” Anoth­er sheet holds out to view­ers a flight “HIGH INTO THE AIR!” Lest they sus­pect that would­n’t give them their quar­ter’s worth of fan­ta­sy, it also promis­es them a plunge “DEEP IN THE EARTH!” A dif­fer­ent tagline, also used in oth­er Eng­lish-speak­ing coun­tries, declares of the film that “Every­one is talk­ing about it, yet no one can describe it!”

That’s not for lack of try­ing, least of all by the dis­trib­u­tor’s pub­lic­i­ty depart­ment: anoth­er poster’s detailed para­graph boasts of a “mighty, surg­ing love dra­ma of the two worlds that work out their moil­ing des­tinies with­in the con­fines of a great city.” But over the gen­er­a­tions — and after restora­tions — Metrop­o­lis has sur­passed these claims with its val­ue as a work of cin­e­mat­ic art, and indeed become as time­less as a ques­tion once used to pro­mote it: “What’s the world com­ing to?”

via Messy­Nessy

Relat­ed con­tent:

Metrop­o­lis: Watch Fritz Lang’s 1927 Mas­ter­piece

Read the Orig­i­nal 32-Page Pro­gram for Fritz Lang’s Metrop­o­lis (1927)

H. G. Wells Pans Fritz Lang’s Metrop­o­lis in a 1927 Movie Review: It’s “the Sil­li­est Film”

Gaze at Glob­al Movie Posters for Hitchcock’s Ver­ti­go: U.S., Japan, Italy, Poland & Beyond

10,000 Clas­sic Movie Posters Get­ting Dig­i­tized & Put Online by the Har­ry Ran­som Cen­ter at UT-Austin: Free to Browse & Down­load

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch 80 Free Documentaries from Kino Lorber: Includes Films on M. C. Escher, Stanley Kubrick, Hannah Arendt, Hilma af Klint & More

M. C. Esch­er, Han­nah Arendt, Hierony­mus Bosch, Hilma af Kint, Stan­ley Kubrick: if you’re a reg­u­lar read­er of Open Cul­ture, you’re no doubt fas­ci­nat­ed some or all of these fig­ures. Now, thanks to film dis­trib­u­tor Kino Lor­ber, you can watch entire films about them on Youtube. Hav­ing evi­dent­ly put a good deal of ener­gy toward expand­ing their Youtube chan­nel in recent months, Kino Lor­ber has uploaded such doc­u­men­taries as M. C. Esch­er: Jour­ney to Infin­i­ty, Vita Acti­va: The Spir­it of Han­nah Arendt, Hierony­mous Bosch: Touched by the Dev­il, Beyond the Vis­i­ble: Hilma af Kint, and Film­work­er (about Kubrick­’s right-hand man, the late Leon Vitali) — all of them free to watch.


So far, Kino Lor­ber’s playlist of free doc­u­men­taries con­tains 80 films, a num­ber that may vary depend­ing on your loca­tion. Some pop­u­lar selec­tions focus on music: that of Elvis Pres­ley, that of Lev­on Helm and The Band, that of Green­wich Vil­lage in the nine­teen-six­ties and sev­en­ties.

But the doc­u­men­tary is a ver­sa­tile form, able in the right direc­to­r­i­al hands to con­tain a wide range of real-life sub­jects, from art (Louise Bour­geois: The Spi­der the Mis­tress and the Tan­ger­ine, The Jeff Koons Show) to food (Sushi: Glob­al Catch, El Bul­li: Cook­ing in Progress) to nature (More than Hon­ey, The Woman Who Loves Giraffes) to reli­gion (Bril­liant Moon: Glimpses of Dil­go Khyentse Rin­poche, The Last Dalai Lama?), to cin­e­ma itself (Cap­tured on Films: The True Sto­ry of Mar­i­on Davies, Blank City).

All this gives only a hint of the sheer aes­thet­ic, intel­lec­tu­al, and cul­tur­al vari­ety of Kino Lor­ber-dis­trib­uted doc­u­men­taries. To get a fuller sense, you’ll have to explore the playlist itself, down to its most recent addi­tions like Find­ing Fela, Nol­ly­wood Baby­lon, and Lina Wert­müller: Behind the White Glass­es. Like all doc­u­men­taries worth watch­ing, these don’t just address sub­jects of inter­est, but leave their view­ers with new­ly open avenues of curios­i­ty to fol­low. Your jour­ney may begin with films about Glenn Gould, Char­lotte Ram­pling, John­ny Cash, or Maya Deren, but to what realm it will take you — that of the Bal­lets Russ­es, of Mex­i­can lucha libre wrestling, of the female Bud­dhists of the Kath­man­du Val­ley — can­not be fore­told.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed con­tent:

285 Free Doc­u­men­taries Online

Watch Free Cult Films by Stan­ley Kubrick, Fritz Lang, Boris Karloff, Bela Lugosi & More on the New Kino Cult Stream­ing Ser­vice

The 10 Great­est Doc­u­men­taries of All Time Accord­ing to 340 Film­mak­ers and Crit­ics

50 Must-See Doc­u­men­taries, Select­ed by 10 Influ­en­tial Doc­u­men­tary Film­mak­ers

The Atom­ic Café: The Cult Clas­sic Doc­u­men­tary Made Entire­ly Out of Nuclear Weapons Pro­pa­gan­da from the Cold War (1982)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Open Culture was founded by Dan Colman.