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2002 Ernest Lilley / SFRevu
Editor:  Ernest Lilley
Associate Editor: Sharon Archer


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Editorial License
US Books
UK Books
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CanVention 22 and the Aurora Awards
If It's Tuesday, this must be TOR

Feature Interview:
Ken Macleod

Feature Review: Cosmonaut Keep by Ken Macleod

Book Reviews
The Alchemists Door
by Lisa Goldstein
Alternate Generals
ed by Harry Turtledove
Argonaut by Stanley Schmidt
Fire Logic by Laurie J. Marks
The Iron Grail by John Woodstock
The Sacred Pool by L. Warren Douglas
The Sky So Big And Black by John Barnes
Spaceland by Rudy Rucker
Straw Men by
Michael Marshall Smith
Sisters of the Raven by Barbara Hambly
To Trade The Stars by Julie E. Czerneda
The Year's Best Fantasy and Horror
, Ellen Datlow and Terri Windling
Graphic Novel:
Murder Mysteries. Original short story and radio play by Neil Gaiman. Graphic story script and art by P. Craig Russell
Zine: The Journal of Pulse Pounding Narratives

Austin Powers: GoldMember

Metropolis (2002) Restoration
& Metropolis Essay
PowerPuff Girls
Reign of Fire


Freder: It was their hands that built this city of ours, Father. But where do the hands belong in your scheme?
Joh Frederson: In their proper place, the depths.

Editorial License:  - by Ernest Lilley - Editor/SFRevu

Kino films released a new digital print of Metropolis last month, and its playing in limited engagement in theaters across the country. Amy Harlib went to see it and came back with more than a review, adding a lot of good insights about the film and the period it was made in. Check out her review: Metropolis Review: Amy Harlib.

I've always been fond of the film, and am really excited about the new release, which contains footage you've probably never seen, since the video version was made from a damaged copy. A lot of the direction that made SF what it was in the golden age came from the images in this film, even though it's more dystopic than our wishful dreams would become.  But if looking ahead helps us understand the dangers of things to come, then let the projector roll.

 Metropolis is the seminal SF Film work of class warfare, though H.G. Wells had written The Time Machine: An Invention three decades before, begun in what can only be considered one of the earliest SF Fanzines ever produced before even that. Where Wells' Morlocks were the subterranean under lords of evolved humanity and his Eloi the placid cattle on which they fed, Fritz Lang's vision showed, at least in the short run, the reverse, with Thinkers on top, and Workers in the caves of steel.

The film's most enduring image is of Futura, a robot made in the image of Maria (Bridgette Helm) who has been stirring up the workers to revolt. The robot impersonates Maria and leads the workers into temptation rather than deliverance, but she does make the mech-erotic look attractive, if ultimately unfulfilling. Bridgette went on to simmer across the silver screen for the next 50 or so years, and Futura left a legacy embraced by every Robot that reciprocated the act of being turned on.

The 2002 digital restoration of Metropolis is everything you could hope for in a print. The images crystal clarity draw you into Fritz Lang's world, making a sumptuous piece of world building, pristine in its noirish glory. It's classic story of class warfare is as appropriate now as ever, and one expects will be as long as there are humans to tell stories about.

Ernest Lilley
Editor SFRevu