I'm not going to lie. It's really difficult for me to get into German expressionism, especially after a long day at the beach. When Metropolis opened with the disclaimer that large chunks of the film had been lost to the ages, I was afraid this was going to be one erratic, haphazard two hours of movie. There were two things that I felt specifically kept it from becoming so: the artistry and the performances. While I enjoyed parts of the score, there were times where even it became a bit too repetitive; therefore, I'll keep my focus on the other two.
The city design of Metropolis, though largely limited to artists' sketches and miniatures, encompassed a grandeur, the likes of which modern civilization has yet to attain. The comparison of the city to the Tower of Babel was a tight fit. The buildings towered above the streets below, each one seeking to outdo its neighbor in height and diameter. No space was spared between them and walkways connected them; in all actuality, in this world, there was no reason for any human to set foot outdoors at all, which lent itself to the closed-minded world of the characters.
Starting out, I really did not want to like our protagonist, Freder (played by Gustav Fröhlich), whose heavy makeup and hyperbolic reactions to everything contrasted gratingly with his father's more subtle appearance. However, our love interest, Maria (Brigitte Helm) and mad inventor, Rotwang (Rudolf Klein-Rogge), both managed to outdo Freder in over-the-top expression. However, when she wasn't flailing her arms and crashing blindly into walls, Maria as the robot was a lot of fun to watch. Her bizarre erotic dance, her spiderlike hand gestures, and her sneering glances, all done with a mechanical rhythm, somehow managed to grasp perfectly the image of that which is twisted and evil in the world.
Metropolis comes from the days when a message could be hammered down the throats of the audience without receiving great scorn, but despite its continuous restating of its message, I really enjoyed the analogy of the head and hand needing to meet at the heart; it is an excellent message to take into account when working with dreamers and workers, because compassion and empathy, or at least the attempt at it, are essential to a working society, as demonstrated by the mob of workers racing from their city to destroy the machine that kept them alive, leaving their children to die. Thus, as befits truly classic science fiction, Metropolis leaves us with both a happy ending and a stern warning for the future: side with neither the hand nor the mind exclusively, but walk that delicate line between mobs or else become the problem. I give Metropolis three stars for artistry and the provoking of thought.
The city design of Metropolis, though largely limited to artists' sketches and miniatures, encompassed a grandeur, the likes of which modern civilization has yet to attain. The comparison of the city to the Tower of Babel was a tight fit. The buildings towered above the streets below, each one seeking to outdo its neighbor in height and diameter. No space was spared between them and walkways connected them; in all actuality, in this world, there was no reason for any human to set foot outdoors at all, which lent itself to the closed-minded world of the characters.
Starting out, I really did not want to like our protagonist, Freder (played by Gustav Fröhlich), whose heavy makeup and hyperbolic reactions to everything contrasted gratingly with his father's more subtle appearance. However, our love interest, Maria (Brigitte Helm) and mad inventor, Rotwang (Rudolf Klein-Rogge), both managed to outdo Freder in over-the-top expression. However, when she wasn't flailing her arms and crashing blindly into walls, Maria as the robot was a lot of fun to watch. Her bizarre erotic dance, her spiderlike hand gestures, and her sneering glances, all done with a mechanical rhythm, somehow managed to grasp perfectly the image of that which is twisted and evil in the world.
Metropolis comes from the days when a message could be hammered down the throats of the audience without receiving great scorn, but despite its continuous restating of its message, I really enjoyed the analogy of the head and hand needing to meet at the heart; it is an excellent message to take into account when working with dreamers and workers, because compassion and empathy, or at least the attempt at it, are essential to a working society, as demonstrated by the mob of workers racing from their city to destroy the machine that kept them alive, leaving their children to die. Thus, as befits truly classic science fiction, Metropolis leaves us with both a happy ending and a stern warning for the future: side with neither the hand nor the mind exclusively, but walk that delicate line between mobs or else become the problem. I give Metropolis three stars for artistry and the provoking of thought.
