Metropolis 1927 film: Encyclopedia II - Metropolis 1927 film - Themes

Metropolis 1927 film - Themes

The film contains a scene where Maria retells the story of the Tower of Babel from the Biblical book of Genesis, but in a way that connects it to the situation she and her fellow workers face. The scene changes from Maria to creative men of antiquity deciding to build a monument to the greatness of humanity, high enough to reach the heavens. Since they cannot build their monument by themselves, they concentrate workers to build it for them. The camera focuses on armies of workers unwillingly led to the construction site of the monument. They work hard but cannot understand the dreams of the Tower's designers, and the designers don't concern themselves with the fate of their workers. As the film explains "The dreams of a few had turned to the curses of many". The workers revolt and in their fury destroy the monument. As the scene ends and the camera returns to Maria, only ruins remain of the Tower of Babel. This retelling is notable in keeping the theme of the lack of communication from the original story but placing it in the context of relations between social classes and omitting the presence of God.

The entire film is dominated by technology, with Lang using a mixture of both 1920s and futuristic devices. Much of the technology portrayed in the film is unexplained and appears bizarre—such as the enormous "M-Machine" and the "Heart Machine". Whilst the Heart Machine is implied to be the electrical power station of the city and appears to be a kind of Wimshurst machine, the purpose of the M-Machine is never revealed, despite it playing a significant part in the film. While Freder is in the subterranean factories, he swaps places with an exhausted worker and takes over his seemingly pointless task—moving the dials of a gigantic clock-like device in accordance with flashing light bulbs. It is possible that the pointlessness of the task was purposeful. However, other machines featured in the film anticipate future inventions: Joh Fredersen's office has a television-like device which allows him to contact his overseers in the factories, and built into his desk is an electronic console which allows him to remotely open doors, etc. Also in his office is an automated electronic ticker-tape, with a weary and frustrated clerk constantly writing down the latest stock market prices. In the city itself, we see a mixture of futuristic monorails and airships combined with 1920s-style cars and aeroplanes.

The ultimate expression of technology in the entire film is the female robot built by Rotwang, referred to as the "Maschinenmensch" or "Machine Human" although it is often translated as "Machine Man" in the US version. In the original German version Rotwang's creation is a reconstruction of his dead lover, a woman called Hel (a reference to the Norse goddess Hel). Both Rotwang and Joh Fredersen were in love with her. She chose Fredersen and became Freder's mother, though she died in childbirth. Rotwang, insanely jealous and angry about her death, creates the Maschinenmensch Hel. In the US version, The Machine Man is merely a fully functioning automaton which can be programmed to perform a variety of human tasks, whilst its appearance can be synthesised to resemble any human being.

However, the Machine Man is sentient, and has its own agenda different to that of its creators. It performs the required task of fomenting revolution, but then becomes an exotic dancer, turning the young men of Metropolis against one another for its own entertainment. This echoes themes from Karel Čapek's 1921 play Rossum's Universal Robots and anticipates the themes of many late-twentieth century films, in which seemingly unsentient machines gain consciousness and turn against the intentions of their creators.

Part of Fritz Lang's inspiration for the movie came during a trip to Manhattan, New York. He is quoted on the DVD of the Murnau Foundation version as saying "I saw the buildings like a vertical curtain, opalescent, and very light. Filling the back of the stage, hanging from a sinister sky, in order to dazzle, to diffuse, to hypnotize."

Adapted from the Wikipedia article "Themes", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki