Release: Sunday, March 13, 1927
Written by: Thea von Harbou
Directed by: Fritz Lang
Austrian-German filmmaker Fritz Lang’s critique of capitalism and class structure in his classic silent epic Metropolis is a sight to behold, even if it is far from graceful. He imagines a dystopian city in the year 2026, a self-contained universe starkly divided between the weak and the powerful, the have’s and the have-not’s. When the son of the city’s visionary planner crosses the threshold into the world of the machine workers after being lured there by a beautiful woman, he learns the terrible truth about the city and his position within it and seeks to change the status quo.
Despite universal praise for its technical prowess, most notably a sprawling and immersive visual aesthetic, Metropolis was far from being embraced as an instant classic upon its release, some 90 years ago. The now famous line “The Mediator between Head and Hands must be the Heart!” was a particular bone of contention for critics of the late 1920s and early ’30s who viewed the sentiment as an oversimplification of existent tensions between the working class proletariat and the privileged bourgeoisie.
The very idea that such disparate groups could ever find common ground was deemed unrealistic, even naïve. Among the most notable dissenters was English writer H.G. Wells, who dismissed it as “quite the silliest film.” But the most damning criticisms were lodged against the film’s alleged pro-fascist stance, the thrust of the narrative seemingly drawing parallels between the revolt against the aforementioned visionary Joh Fredersen (Alfred Abel) and the rise of the National Socialist German Workers’ Party.
Before diving into all of that, an interrogation of the narrative itself might be helpful. The story concerns itself primarily with the relationship between the good-hearted but privileged Feder (Gustav Fröhlich in his breakout role) and the poor prophet Maria (Brigitte Helm), who find themselves caught up in a bitter revolt inspired by a robot built in the likeness of the latter — the result of a scientific experiment carried out by the inventor Rotwang (Rudolf Klein-Rogge). The robot, originally designed to replicate his beloved, is brought to life after Maria falls into Rotwang’s clutches at the behest of Joh, who senses growing unrest in the subterranean realm.
Of course, Joh is unaware of the inventor’s ulterior motives, as he actually plans to use the replicated Maria to destroy Metropolis. He plans to have her lead the workers in a violent uprising that will see the destruction of many machines, including The Heart Machine, which . . . well, you can probably guess why it’s important. In the heat of passion, the outraged leave their children behind in the wreckage for Feder and Maria to save before the city floods in the ensuing chaos.
Throughout the two-and-a-half hour running time (Metropolis manifests as one of cinema’s earliest full-length features and is indeed sizable even by today’s standards) we are bombarded with Biblical references and homages to Mary Shelley’s seminal science fiction Frankenstein. This seemingly incongruous mixture of elements, as set against the backdrop of the German expressionist movement, combines to form a uniquely visual tapestry that tends to obscure, rather than enhance, the beating heart of humanity at the film’s core.
Given this, Metropolis can hardly be deemed a film of subtlety. In fact it’s massively unsubtle. Lang’s suggestion of the apocalypse is a prime example. Feder’s vision of Maria riding a seven-headed beast confesses to the unfettered nature of period expressionism, and provides Lang’s most solid alibi for taking the film to so many different extremes. It’s altogether too much clutter. In a film where so many other dynamics are to be considered, heavy-handed interpretations of scripture seem, at best, superfluous.
I don’t view Metropolis as being overtly one thing or another. It’s a veritable amalgam of thematic material and visual spectacle. It’s about communism. No, it’s not — it’s about fascists. No it’s not, it’s about artificial intelligence. No wait, it’s about sinning and the second coming of Christ. I can’t fathom having to process all of this in a time where film reviews could only be found in the paper. At a time when the mobilization of the Nazis was an event taking place in the present. And while we’re on the subject, I also don’t subscribe to the notion that Metropolis supports Nazism. Perhaps there’s a reading here that the inevitable uprising in the lower ranks is a metaphor for the eventual birth and spread of fascism in Europe, but I don’t want to give that too much credit.
The fact that the film fails to shift its emotional weight convincingly proved most problematic for me. I was never convinced by Joh’s sudden concern for his son when violence took hold of society. Remorse for his oppressive leadership was never palpable during the hand-shake — the mediation, as it were, between the head of the city and its tired hands, here represented by the foreman of the Heart Machine, Grot (Heinrich George). Because Joh remained a fundamentally unchanged man come the end, I wasn’t able to buy the denouement as anything other than a physical commitment to honor the film’s thematic contract: Show that love can conquer all. (Even the most bitter ideological divides like class warfare.)
In the end, I liken Lang’s optimism to John Lennon’s insistence that all you need is love. In the context of the world in which we live, their idealism does seem naïve but for whatever reason it almost seems in poor taste to describe visionaries like them in such a way.
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Recommendation: Mightily ambitious and to a fault, Metropolis I find a film with much to praise and almost as much to criticize. And yet, considering the times in which it was released, I can’t do anything but admire it. A rare silent film viewing experience for me, one I’m glad I have finally had. Do I really need to recommend this movie to anyone . . . ?
Running Time: 148 mins.
What the hell: Unemployment and inflation were so bad in Germany at the time that the producers had no trouble finding 500 malnourished children to film the flooding sequences.
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