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METROPOLIS 1927 Fritz Lang

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METROPOLIS 1927 Fritz Lang HUMANITIES INSTITUTE Burak Sevingen, MA METROPOLIS 1927 Fritz Lang Contents Overview Story Themes Characters Character Analysis (Freder – Joh Fredersen – Rotwang – Maria/The Machine-Human – Other characters) OVERVIEW Metropolis was released in 1927, towards the end of the decade known as the Roaring Twenties—a period of relative economic stability in the Weimar Republic. The Wall Street Crash of 1929 and ensuing Great Depression were just around the corner. The Nazi Party was a force to be reckoned with in German politics but it was several years prior to Hitler‘s ascent to absolute power. 1920s were also a decade of rapid technological progress with airplane, automobile, electrical home appliances, phonograph, radio and many other inventions that transformed life. On the other hand, still fresh were memories of World War I and its technologies of destruction e.g. industrial trench warfare with machine guns and chemical weapons—whose ghoulish visions were depicted by Lang‘s contemporary Otto Dix. Metropolis represented this dual view of technology, a source of joy and a cause of pessimism. Technically, Metropolis was groundbreaking. A large number of extras were employed in conjunction with shots making use of matte paintings and miniatures. Cinematographic innovations included1 creating multiple exposures on the rewound film and stop-motion animation of miniatures. A particularly cutting- edge technique was the Schüfftan process that enabled creating the illusion of actors interacting with gigantic backgrounds by using mirrors to project them onto miniature sets. Lang‘s bold envisioning of the city of future continues to fascinate architects and designers. With nods to Bauhaus, futurism and Art Déco, it is a visual treat. Aurally so as well—that is, as a silent film. Gottfried Huppertz‘s original soundtrack interrupts a ―Wagnerian composition‖ with the disorienting use of Jazz during the night club scenes2. After all, 1920s are also known as the Jazz Age, the time of the flapper, bob cut hairstyle, unique fashions, cabaret dancing and above all assertive presence of modern women in public. Metropolis had a lasting legacy and influenced science fiction genre for almost a century now. Representation of state as a tyrannical corporation was a major inspiration for dystopias such as Bladerunner (1982), Fifth Element (1997) and Brazil (1985). As a cornerstone of expressionism in cinema, its dim and misty settings inspired film noir. Homage to Metropolis and its robot (or gynoid for a female android) can be encountered in various fields of popular culture such as Star Wars’ (1977) C-3PO and music videos of Queen, Madonna and others. The script was co-authored by Lang and Thea von Harbou who was his wife at the time. It was based on von Harbou‘s 1926 novel. Following their divorce, Lang carried on his career in the USA while von Harbou stayed in Germany and worked for the Nazis—which bring up the question of ideology in Metropolis. According to an anecdote recounted by Lang himself, Joseph Goebbels himself was a fan of the film. In his interview with director William Friedkin, Lang said that he became political after Metropolis and by then leaned more towards the left3. The ending, with its abrupt reconciliation between the classes supports the argument that the film shows an affinity to fascism—and the issue is still open to speculation. Luis Buñuel remarks that he views Metropolis as two films, an underwhelming plot intertwined with an extraordinary visual narrative4. With an ambivalent approach to Modern city, technology, class politics and gender identities, it eludes attempts at a definitive interpretation. One could say that changing perspectives of each era could discover something new in it—the dreamy and whimsical Metropolis never fails to reward rewatching and rethinking. STORY First shot introduces the futuristic Metropolis as a bustling modern city with sophisticated architecture and transport systems. Following sequence shows state-of-the-art machinery seemingly in perpetual motion with cogwheels in revolution and blades spinning. The dynamic turbine looks like an admirable metal sculpture—it is the driving force of the vibrant city. A Vertical City. From the get-go, uniqueness of space and time is established as a ten-hour clock face signals the end of the shift. We now see the operators of the vigorous machines. Workers in drab uniforms walk rigidly, clearly exhausted and dispirited. Large elevators take them underground where they head to their apartments in bleak and massive concrete blocks. Unlike this grim world, next setting above the ground shows energetic young men competing in tracks at a bright and spacious stadium. In close proximity—in a pastoral Eden called the Eternal Gardens, women prepare for a quick audition to entertain one of the athletes. Enter Freder Fredersen, the son of ‗the Ruler of Metropolis‘. A playful chase with a flapper ensues amid exotic animals and water fountains. Sabotage. The party is abruptly interrupted when unexpected guests arrive. A young woman surrounded by several impoverished children approaches Freder. She tells the kids to meet their brothers. The intruders are led outside but Freder is so touched by the encounter that he dashes after them. The pursuit takes him to the machine chamber of Metropolis where workers are desperately struggling to keep up with machines. The centerpiece is the ‗Heart Machine, a large and elevated structure that resembles a ziggurat. Freder is shaken and starts hallucinating about Moloch, the Canaanite god associated with child sacrifice. He envisages the heart machine to have anthropomorphic features. Formations of workers duly walk up the stairs and are pushed inside a ‗mouth‘ by guards. Suddenly, an explosion rocks the machine room, workers are scattered in all directions, and many of them are seriously injured. The appalled Freder makes a run for his father‘s headquarters located at the skyscraper called ―the New Tower of Babel‖. He seems to be confident that Joh Fredersen will be equally upset when he learns what he has just witnessed and will rectify the situation. The stoic Fredersen is barely moved by the news; instead he harshly reprimands his right-hand man Josaphat for failing to inform him about the explosion. The foreman of the workers Grot arrives to reveal that the incident was an act of sabotage and maps of a secret location were found on the saboteurs. Fredersen, presumably concerned about losing his grip on his son as well as city, summons his secret agent Slim to follow Freder and fires Josaphat. Freder enters the machine chamber and witnesses worker #11811 being overwhelmed by a machine that looks like a man-sized clock face. He relieves the exhausted worker—named Georgy—and proposes that they ―trade lives‖. Accordingly, Freder proceeds to toil at the workstation and instructs his new friend to leave and wait for him at Josaphat‘s flat. Shortly after, he receives a tip about a clandestine meeting of the workers scheduled to take place after work. Meanwhile Georgy settles in Freder‘s limousine. The sight of a flapper and finding lots of cash in Freder‘s garment tempts him to have a taste of the high life at the City of Sons. The car heads to Yoshiwara club, a cosmopolitan and vibrant cabaret in the entertainment district. The Machine-Human. At the highest echelon of Metropolis, Joh Fredersen has decided to carry out his own investigation about the suspicious maps. He seeks the guidance of Rotwang the inventor, a scientist who looks more like a sorcerer in his Gothic abode. We learn that the two men have a complicated history: They were once in love with the same woman named Hel, who eventually married Joh and died while giving birth to Freder. Rotwang has never forgotten Hel and the shrine he has built to her keeps his contempt for Fredersen alive. His latest creation is an android named the Machine-Human. This robot in female form is designed to look like Hel and obey only Rotwang. What Lies Beneath. Despite their animosity Fredersen obviously takes the inventor seriously and turns to Rotwang ―when his experts fail‖ him. Indeed, the mad scientist is able to reveal the mystery of the plans and explains that they indicate the subterranean city known as the Catacombs. He takes Fredersen there, just in time to witness workers conglomerating. His son Freder is among the workers who have arrived to hear Maria speak. The Maria is the beloved and saintly leader of the workers. She preaches patience, understanding and moderation. She tells the tale of the ―Tower of Babel‖. According to her account, elites of Ancient Babylon conceive a monumental architectural project but cannot realize it by themselves. These ―dreamers hire hands‖ but fail to accurately convey their ideals. The workers, strained under harsh working conditions cannot comprehend ―the brain‖. Ultimately, they rebel and leave the spectacular tower in ruins. Maria explains that without the heart to act as a mediator, the hands and the brain could not communicate properly. Agent-Provocateur. Observing Maria‘s powerful oratory and sensing a threat, Fredersen hatches a plan to destroy her reputation. He asks Rotwang to give his machine-human her appearance. The mad scientist is delighted to hear this as he reckons that the sinister scheme will end up costing Fredersen not just his city, but also his son. Rotwang captures Maria and at his laboratory, her body is transposed onto the machine-human with high-tech wizardry. He dispatches the gynoid to Fredersen who instructs her to go to the subterranean city and wreak havoc. Freder arrives just in time to see his father together with the lookalike of his sweetheart and has a nervous breakdown. Death Descends upon the City. Ten days have passed and the recovering Freder is informed that while he was sick, the gynoid was responsible for chaos in both worlds of Metropolis: At the Yoshiwara club, her extrovert sexuality turned men against each other with deadly consequences.
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