Directed by Fritz Lang, science fiction film (Georges Méliès' Le Voyage dans la Lune a.k.a. A Trip to the Moon was a short sci-fi film produced in 1902), it's still a must-watch for anyone who's vaguely interested in the evolution of science fiction cinema.
Metropolis takes place in a dystopian city, where the privileged live in skyscrapers and loom over workers who operate the "Heart Machine" - a power generator for the entire community. When the son of a wealthy businessman meets people from the underground and contemplates their poor living conditions, he trades places with a worker and becomes the central figure in a Metropolis rebellion. Meanwhile, a scientist creates a robot in the image of a woman he once loved and ultimately plots against everybody by kidnapping a female and using her likeness to transform "HEL" into a false prophet. Based on Thea von Harbou's 1925 novel, Metropolis stars Gustav Fröhlich as the main male protagonist Freder, Alfred Abel as his powerful father Fredersen, Brigitte Helm as the primary female protagonist Maria, and Rudolf Klein-Rogge as the scientist Rotwang.
Because of Metropolis' sociopolitical themes, it's been widely cited by numerous culture figures as a major inspiration. The production design also showcases the visual style of the German Expressionist movement, along with Lang's experimental method as one of cinema's early pioneers. Without any cultural context, Metropolis offers a thrilling viewing experience and continues to inspire future filmmakers.
Metropolis' Inventive Filmmaking
For Metropolis, Lang took an unorthodox approach with his cityscapes, at least when compared to modern set design. The dystopian city itself consists of miniature buildings, which at once create a visual illusion while establishing the look and feel of the primary setting. The sense of space aligns with the German Expressionist approach, which prized absurd geometry and a lack of realism, along with the sharp design of the various skyscrapers. There's an epic quality to the aesthetic, which effectively complements and contrasts the primary underground narrative. To further captivate audiences, Lang used mirrors to project actors and actresses onto his miniature creations. When Jerry Siegel and Joe Shuster created the the superhero's home.
Lang also incorporates surrealism into Metropolis' visual design, most notably when Freder hallucinates after encountering the robot version of Maria for the first time. The film's mashup of spellbinding imagery precedes Star Wars' C-3PO.
Metropolis Criticizes Utopias
Then and now, Metropolis shows the dangers of unchecked power. The storyline begins with the privileged frolicking in a literal garden, and the almighty Frederson implies that the underground workers are "where they belong." Incidentally, the subtext can be applied to any political regime that undervalues the lower class. In Lang's film, there's not even a middle class. When Maria and children from the underground visit their "brothers," Freder is mindful enough to realize his privileged position. Crucially, he also wants to know about the realities of living "in the depths." In this world, Freder's opinions change as he acquires more knowledge. In contrast, his father scoffs at the lower class and refuses to change his worldview when new evidence emerges. It's not hard to see the parallels between democratic and conservative perspectives, certainly in the United States.
In Metropolis, the upper class' utopian concepts are flawed because they don't respect, or fully acknowledge, the heart and soul of their operation. On the flip side, the underground can't execute an efficient revolution if they're not sure what they're rebelling against. Maria functions not as a forceful revolutionary, but rather as someone who understands the system as a whole and recognizes that she needs the right mediator. When Freder emerges as a logical candidate, he initially romanticizes his work for the underground and loses focus. He's literally distracted by technology (robot Maria), and experiences temporary insanity before he recognizes the truth. Metropolis criticizes the upper class' naivete, but also takes aim at egocentric underground figures who prioritize themselves over the safety of others. In essence, as the final act shows, the "head" and "hands" always need some "heart." It's not enough just to talk about a utopia or a rebellion; there needs to action, education, and comprise.
Metropolis' Social Message Is Still Relevant
In the Digital Era, there's a constant battle on social media between heads and hands. Metropolis reminds viewers about the value of healthy mediation, along with the importance of empathy (or heart). The narrative explores the concept of wanting to be helpful but not having enough information to effectively create change. In Fredersen, one can see modern political figures who value partisan loyalty more than personal interactions; the businessman takes advantage of what the Heart Machine provides, but clearly doesn't understand the specifics of how it works. In Fredersen's spy The Thin Man, there's the model for the movie henchman; a devious figure who looms in the background and waits for the most opportune moment to attack. In social media , he's a troll - someone with bad intentions who manipulates information for self-serving reasons.
With Maria, Metropolis foreshadows the archetypal "damsel in distress" and even the "final girl" that emerged in '70s horror films, as this particular world is designed to silence those who seem inconsequential or replaceable. During interior chase sequences, sharp monochromatic contrasts underline the film noir aesthetic that Lang himself would later be associated with, while the robot version of Maria precedes the archetypal "femme fatale," as she captivates men with her sexuality. As for Rotwang, he mirrors all the "mad scientists" of future science fiction and horror films and allows Lang to incorporate story elements from various genres.
Metropolis allows for different interpretations with each viewing. A die-hard science fiction fan will have a different experience than a horror enthusiast, just as some cinephiles will think more deeply about Lang's directorial formalism than viewers who are more interested in the central message about equality, revolution, and industrialism. Most importantly, in of an enduring legacy, the overall pace and rhythm of Metropolis aligns with the times in 2020, as the 153-minute narrative will keep most viewers engaged and entertained, and also keep them curious about the overall production process.
