In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior...
Metropolis unfolds into a mechanical masterpiece in ingenuity and expressionism. The grandfather of science-fiction. The film that single-handedly pioneered a genre. Just, impressive. I've been waiting a good few years to watch this German expressionistic silent film, and the time has finally come. With 150 minutes being recovered and mostly restored from the 153 minute original runtime, this was the closest to the full cut I was ever going to get. Fritz Lang not only implanted his views on authoritarianism and capitalism, but he crafted and adapted a film revolving around the idea of social justice. Revolutionary back in 1927, and yet still thematically important today.
The son of the "head" of Metropolis decides to switch his lifestyle and work as a "hand" in the underground working city, to which he quickly falls in love with an innocent woman who gives insight into faithful readings. During this time, an inventor builds a man-machine and chooses to lead the workers into revolution by destroying the very city they have been working on.
Much like the film itself, the city is bustling with themes and social injustice. A class system where workers must work every day underground whilst the wealthy enjoy the endless possibilities of knowledge, entertainment and everything else the gargantuan city has to offer. Fritz Lang takes a traditional romance and develops it during a period of economic struggle and freedom deprivation. His technical prowess and inventiveness when directing all these characters is what makes Metropolis timeless (and one heck of an experience).
For a silent film, there was a considerable amount of personality being shown through exaggerated arm-flailing performances. Fröhlich, with his questionable attire, commands the film through his naivety. Abel on the other hand acts as the manifestation of autocratic authority, with a frown that will haunt your dreams. But it's Helm, presenting us with a dual performance, who goes full arm-flailing. Encapsulating the fragility of Christianity when she's Maria, but quickly shifting to psychotic revolutionist when transformed to the "Man-Machine". What intrigued me the most was the neutral state these characters resided within. The Man-Machine, whilst attempting to create social justice through worker's revolt, did so in a method that would become a detriment to everyone. Through authoritative order, it created uncontrollable chaos. Conversely, Fredersen overlooks a futuristic cityscape deprived of a democratic system, but does so for what he believed was the best for his people.
The "head" and "hands" of society must come together through a mediator that understands both parties, the "heart". This thematic message comes full circle during its concluding minutes, which unfortunately was my main criticism for the film. Lang conveyed this heavy-handedly, as if the audience were unable to depict this metaphor for themselves. Considering the expertise and masterclass in production design that preceded this, it was somewhat a slap in the face. Speaking of production design, this sci-fi flick features some of the best stage sets available at the time. From layered cut outs illustrating the complexity of the city's infrastructure to beastly machines that act as the heart of civilisation. Lang naturally gives grandeur to his production. He also includes gothic structures, in particular a stoic cathedral, to represent the need for history and its importance in a world advancing with technology. This goes without saying the connotations of Christianity, especially a dream-like scene involving the seven deadly sins.
The restoration of the film itself was stunning, and holds up well to this day. I believe one scene involving an inventor being overthrown by Fredersen is still missing, and so consequently the film felt jarring for one moment. However I am unable to criticise this. A few plot conveniences here and there and an overall lacking of title cards, but small nitpicks.
Metropolis has attained a rare achievement. It has stood the test of time, not just with its technological ingenuity, but with its coherent themes of society. This may just be Fritz Lang's masterpiece, and deservedly so.
