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... Metropolis (1927) represents a science fiction view of where that path
was leading and what the outcome would be for humanity. ... These fears are followed out to their end in Metropolis. ... In Metropolis, Fritz Lang portrays a dark
picture of future society; but not one without hope. ...
Metropolis premiered in Berlin January 10, 1927.1 The silent movie sets as the
scene a city called Metropolis in the year 2000. ... The savior turns out to be Freder, whose father is John Frederson and master of
Metropolis. ... ”5
Lang’s portrayal of the relationship between the workers and the master of
Metropolis correspond directly to Freud’s theory of an artificial group. ... They are physically separated from other people, and the rules and
conditions of their labor forces them to submit to the master of Metropolis, and to identify
with each other. The workers of Metropolis are first shown marching to work. ... ”7 Frederson states unequivocally and
unfeelingly that the workers’ place in Metropolis is in the depths.8
The relationship between Frederson and the workers is not the only example of
group psychology in Metropolis, for the workers also view Maria as their leader. ...
In Metropolis, Frederson and the scientist Rotwang take advantage of Maria’s
authority to gain control of the workers through a robot that is identical to Maria. ...
Religious symbols are the dominant motif in Metropolis. ... There is no god in Metropolis. ... Redeption occurs in
Lang’s Metropolis throught the transcendent power of love to restore the entire social
fabric of relationships. ... Lang’s view of progress in Metropolis is cyclical. In
Metropolis, labor divisions and urbanization lead society to a state of violence and
disorder. ... Metropolis in the year
2000 is too powerful and scientific for love. ...
Lang also condemned the primitive state of the society in Metropolis in terms of
the seven deadly sins. In Metropolis, Freder has a vision of the cathedral. ... ”21 Nietzsche’s “hands” and “heads” metaphor for the failure of government
is fascinating in that Lang uses the same metaphor to describe the two classes of society
in Metropolis. ... Nietzsche states
to use another image, someone who has completely lost his way in a forest, but
strives with uncommon energy to get out of it in whatever direction, sometimes
discovers a new, unknown way: this is how geniuses some into being, who are
then praised for their originality24
One is reminded of the image of Freder, running headlong into the midst of conflict in
Metropolis.
Approximate Word count = 3501
Approximate Pages = 14
(250 words per page double spaced)
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