For Aelita, we decided the score was awful. We put on a Susumu Yokota CD, I think The Boy and the Tree. It worked surprisingly well. For Metropolis, we eventually came to the same conclusion and put on an Amon Tobin CD, which worked pretty well.
Laugh, Clown, Laugh had a new score that was very minimal and was not nearly as obtrusive as the bombastic or otherwise ill-fitting orchestral scores for the other two films, so we left it. I know Metropolis (of which we had only a poor VHS copy of a terrible print) is supposed to be a great feat of film-making, but I was really more impressed with Laugh, Clown, Laugh. A good portion of the dialogue cards were totally unnecessary because it was clear exactly what the characters were thinking and what they would be saying. How universal and beyond language is human emotion! A real downer of a movie, though; doomed clown love is not full of chuckles.
Perhaps as I am starting to prefer music without lyrics, I am also starting to prefer films without dialogue? How peculiar. Before you know it, I'll want to go look at the Agnes Martin paintings, The Islands at the UM Art Museum. Yeah, canvas painted white--that's deep, in a really anti-representational kind of way.