Metropolis (1927)
Metropolis (1927), directed
by Fritz Lang, is widely regarded as one of the most influential science
fiction films ever made. Set in a sprawling, futuristic city, it explores
themes of class division, industrialization, and the dehumanizing impact of
unchecked technological advancement. The film's story is not only visually
stunning but also socially and politically charged, offering a vision of a
dystopian future where the rich and powerful live in luxury while the working
class toils endlessly to keep society running.
The City of Metropolis: A
World Divided
The film opens with
sweeping, dramatic shots of the city of Metropolis, a towering urban landscape
filled with massive skyscrapers and complex machinery. The city's design is a
symbol of the future, but beneath its grandeur lies a dark truth: Metropolis is
a city divided into two distinct classes. Above ground, the wealthy elite live
in luxurious skyscrapers, surrounded by art, leisure, and endless
entertainment. This upper echelon of society enjoys all the benefits of
modernity without a care for the cost.
Below ground, however, in
the bowels of the city, the workers live in grim conditions. They toil
endlessly in massive underground factories to keep the machines running,
operating with a mechanical precision that strips them of their humanity. The
workers' world is bleak, with repetitive, monotonous labor consuming their
lives. Their role is to ensure that the machines above ground function
smoothly, allowing the elite to continue their lives of excess.
The disparity between the
classes is stark, with the workers living like slaves, and the upper class
indulging in luxury. This clear divide sets the stage for the central conflict
of the film.
Freder Fredersen: The Journey of the Protagonist
The story focuses on Freder
Fredersen (played by Gustav Fröhlich), the son of Joh Fredersen (Alfred Abel),
the powerful ruler of Metropolis. Freder is initially oblivious to the
suffering of the workers, living a carefree and privileged life in the upper
levels of the city. He spends his days in the Garden of the Sons, a paradise
reserved for the children of the elite, filled with beauty and leisure.
However, his life takes a dramatic turn when he has a chance encounter with
Maria (Brigitte Helm), a mysterious woman from the workers' underworld.
Maria brings a group of
children to the Garden of the Sons, interrupting Freder's carefree existence.
She tells the children that the Garden represents a life they will never know,
a life of luxury that is denied to them. Intrigued and disturbed by her words,
Freder follows Maria into the depths of Metropolis, descending into the
workers' world for the first time.
What he finds there shocks
him to his core. He witnesses the dehumanizing conditions the workers endure,
particularly as he watches a giant machine malfunction, resulting in a deadly
accident. To Freder, the machine transforms into the monstrous image of Moloch,
an ancient god to whom humans are sacrificed. This hallucination is a powerful
symbol of how the workers are being consumed by the machines, forced to
sacrifice their lives for the benefit of the elite.
Shaken by this experience,
Freder resolves to help the workers and bring an end to their suffering. His
journey from privilege to empathy forms the emotional core of the film.
The Tower of Babel: The Clash of Classes
Freder returns to his
father, Joh Fredersen, and tells him of the suffering he witnessed in the
workers' city. However, Joh is unmoved by his son's pleas. As the mastermind
behind Metropolis, Joh sees the workers as nothing more than cogs in the
machine, necessary for maintaining the city's efficiency.
Freder seeks guidance from
Maria, who has become a spiritual leader for the workers. She preaches a
message of hope, telling the workers that a "mediator" will come to
bridge the gap between the ruling elite and the working class. Her most
powerful sermon takes place in the Catacombs, a secret meeting place for the
workers. In this scene, she uses the biblical story of the Tower of Babel as a
metaphor for their plight.
In Maria’s version of the
tale, the builders of the Tower of Babel are divided. The rulers, who design
the tower, and the workers, who build it, cannot understand each other. This
lack of communication leads to disaster, as the tower collapses and the workers
are left broken and angry. Maria's message is clear: without a mediator to
bring understanding between the head (the rulers) and the hands (the workers),
society will fall apart.
Freder, deeply moved by
Maria's words, believes that he is destined to become the mediator. He vows to
bring his father and the workers together to create a better, more just
society.
Rotwang and the Creation of the Robot Maria
Meanwhile, Joh Fredersen
grows increasingly worried about the growing unrest among the workers. Desperate
to maintain control, he seeks the help of Rotwang (Rudolf Klein-Rogge), a mad
scientist who lives on the outskirts of the city. Rotwang is a brilliant
inventor, but he harbors a deep resentment toward Joh, blaming him for the
death of the woman they both loved, Hel, who was also Freder's mother.
Rotwang reveals his latest
creation: a robot, which he plans to use to further his own agenda. The robot
is a lifelike machine that he has designed to resemble a human. Joh sees an
opportunity to use this robot to control the workers. He orders Rotwang to give
the robot the appearance of Maria, so that it can manipulate the workers and
turn them against her message of peace.
Rotwang agrees, but he has
his own plans. He wants to use the robot to destroy both Joh and Metropolis, as
part of his revenge. The transformation of the robot into a likeness of Maria
is one of the film’s most iconic scenes, blending science fiction with horror
as the machine comes to life.
The False Maria: Chaos and
Rebellion
The False Maria is
unleashed on the city, wreaking havoc wherever she goes. While the real Maria
preaches unity and peace, the robot Maria incites chaos, pushing the workers to
revolt violently against the machines that power Metropolis. The workers,
believing they are following their beloved leader, fall into the trap set by
Joh and Rotwang.
The rebellion culminates in
the destruction of the city's machines, leading to catastrophic flooding in the
lower levels of Metropolis. The workers, in their rage, fail to realize that
they are not only destroying the machines but also endangering their own lives
and the lives of their children, who are trapped underground as the water
rises.
Freder, along with the real
Maria, rushes to save the children, risking their lives to avert disaster. As
the chaos unfolds, the workers begin to realize that they have been deceived by
the False Maria, and their anger turns toward the robot.
The Final Showdown: Heart
as Mediator
The climax of the film
takes place as Freder confronts the False Maria. In a dramatic showdown, the
workers capture the robot and burn it at the stake, revealing its true
mechanical form. The real Maria is saved, and Freder finally faces his father,
Joh Fredersen.
In the end, Freder fulfills
his role as the mediator, bringing together Grot, the leader of the workers,
and his father. The film's final message is clear: "The mediator between
the head and the hands must be the heart." This line symbolizes the need
for understanding and compassion between the ruling elite (the head) and the
working class (the hands).
The Legacy of Metropolis
Metropolis is a visionary
film that addresses themes of industrialization, class struggle, and the
dangers of dehumanization in the face of technological advancement. Its visual
style, with towering skyscrapers, complex machines, and the iconic robot Maria,
has influenced countless films, from Blade Runner to Star Wars. The film's
message, that compassion and empathy are essential for a just society,
resonates as strongly today as it did nearly a century ago.
Though Metropolis is a silent film, its powerful imagery and universal themes make it timeless. It stands as a testament to the power of cinema to challenge societal norms, question the future, and inspire generations to think critically about the world around them.
