Fritz

Lang's Metropolis (1927)

Figure 1. Metropolis Poster


Metropolis by Fritz Lang (1927) is a German expressionist Dystopia film, set in the future about a
city, which is made with opulence but at the cost of the lower social class. Metropolis shows in
depth the difference between social classes as the thinkers are the heads of the city that reside
in the high-rise lavish buildings while the workers are the hands of the cities, which live in the
depths slaving away at redundant tasks to keep the city afloat. The Film follows Freder
Frederson (Gustav Frhlich) who is the son of Jon (Alfred Abel) the Monarch of Metropolis as he
comes to terms with his fathers selfish lifestyle in comparison to the barbaric slavery that the
workers have to endure. Maria (Brigitte Helm) is the heroine of the movie and Also Freders love
interest.
Lang uses the city as a socioeconomic way to differentiate the polar opposites between the social
classes environments. Down in the dark and gloomy depths the workers look like prisoners as
they shuffle in line with their heads bowed in resentment as they take on another grueling day of
working with monstrous machines in smog heavy air, while high up in the elevated cityscapes
those with authority who rule over those in the depths live in decadence in open air.




















Figure 2. Top of the city/depths of
the city Stills.

Alan Diment reveals that the social conflict in the film shines light into how Germany actually was
at the time of production The movie very much reflects the period in which it was created the
decadence of the Weimar Republic, the Fascist rule of neighbouring Italy- but it also has a storyline
which is eternally relevant. The world depicted in the film is one of haves and have-nots, where the
majority suffer under the weight of industry as they toil away on subterranean machines whilst the
privileged few live it up on the surface with precious little thought for their brothers and sisters
below Diment (2010)

















Figure 3. The City Exterior Still.

Lang also uses various modern film techniques, which is used in film today. Atmospheric
perspective is used in the exterior shots of the city to show the scale of how massive the city is.
Symmetry is also a stand out point, which is prevalent in the sets especially in the depths to
convey a sense of form, and structure, which makes the workers seem even more imprisoned.
a point of view shot is used when Freder is reaching for Marias scarf as she is captured by the
Rotwang the inventor which puts the viewer in the eyes of Freder and is a very modern
technique for its time. The fact that visual effects and CGI werent around at the time shows the
amount of effort and detail that was put into building the sets.

Symbolism is rampant in Metropolis and is a very unique way

of reading between the lines of what Lang is comparing and
enticing to the viewer. Saturated with subtext, filmed with a
keen eye for framing and an operatic sense of style, Metropolis
is the kind of film over which many pages could be written on
its themes and aspirational ideologies (Twelftree 2016). As a
way of reflecting just how disturbing and redundant the daily
dehumanising tasks are for the workers they are referenced
to slaves and the machines is their master are there is a
fascinating transition in the movie as the machine fades into
an image of Moloch as the workers are being dragged
towards the mouth of the God, Moloch was a deity to whom
parents sacrificed their children. Subtext such as calling the
robot version of Maria Hel which translates to Goddess of
the underworld, supports Rotwangs intentions upon Hel
towards the city and shows Langs compelling story telling
abilities.






Figure 4 Moloch Transition.

The impact that Metropolis has in todays culture, especially pop culture and sci-fi is
monumental. Music artists of today have rehashed imagery from Metropolis into their music
videos, stage performances and costumes. Film in science fiction is still heavily influenced by
Metropolis as Langs imagery of the dystopia of the depths and the Utopia of Glamour and the
conflict between the two is used in many mainstream blockbusters such as The Hunger Games
and blade runner. The set of Rotwangs layer and his whole aesthetic is exactly the image you get
when you think of a mad scientist and has been used countless times to represent similar roles.
The use of massive sets, symbolism, camera angles and art of composition is what makes
Metropolis stand out from other movies and it is easy to understand why its referenced so much
in todays storytelling and art.
Metropolis employed vast sets, thousands of extras and astonishing special effects to create its
two worlds. Lang's film is the summit of German Expressionism, with its combination of stylized
sets, dramatic camera angles, bold shadows and frankly artificial theatrics. (Ebert 2010)

Illustrations list
Lang F. (1927). Figure 1. Metropolis Poster.
https://laraandthereelboy.wordpress.com/2013/02/19/poster-passion-metropolis/ (Accessed
on 1/10/16)

Lang F. (1927). Figure 2. Top of the city/depths of the city Still (Accessed on 1/10/16)

Lang F. (1927). Figure 3. The City Exterior Still. (Accessed on 1/10/16)

Lang F. (1927). Figure 4. Moloch Transition.
https://orthodoxportlandmaine.org/2015/01/11/the-heart-is-the-mediator/ (Accessed on
1/10/16)



Bibliography
Diment, A. (2010). Hackney Hive (Accessed on 1/10/16)
http://www.hackneyhive.co.uk/index/2010/09/film-review-metropolis/

Ebert, R . (2010). Rogerebert.com (Accessed on 1/10/16)

http://www.rogerebert.com/reviews/great-movie-metropolis-2010-restoration-1927

Twelftree. R. (2016) Fernbyfilms.com

http://www.fernbyfilms.com/2016/06/27/movie-review-metropolis-1927/