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Futuristic and Vampyric

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Metropolis

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Metropolis has inspired lots of imagery in many science fiction films

Nosferatu has influenced every horror film since its release, specifically with Vampires

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Nosferatu uses shadows to tell a story more effectively than any other films I've seen

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Nosferatu uses stop motion to create a magical scene where Count Orlok uses his powers to move planks of wood

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Metropolis demonstrates a metaphor in its film by relating its story and imagery to what was happening with labor at the time it was made

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Both of these films use post production techniques that were very experimental at the time

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"There can be no understanding between the hand and the brain unless the heart acts as mediator." - Maria ( Metropolis)

Back in the 1920s, the future was predicted as one dominated by flying cars, towering skyscrapers and robotic assistants that would be modern slaves to humanity. This is the picture of reality presented in Fritz Lang's 1927 masterpiece, Metropolis, a pioneering piece of science fiction that drew from the art movement of futurism that emerged in the mid-1910s in Italy. Celebrating the advancements of technology and the architectural transformation of a city's infrastructure, Lang became enamoured by this concept and worked to replicate such cinematic fantasies.

An art movement that focused on dynamism, speed, violence, youth and modern transportation systems such as the car and aeroplane, such pioneers of the form including Umberto Boccioni and Giacomo Balla presented avant-garde visions of the future that didn't always focus on the physicality of such a space, but the psychology too. One of the first films to adopt this art style for physical realisation was Metropolis directed by Fritz Lang, a movie that would go on to influence a whole generation of science fiction filmmakers.

Pushing the silent film era of filmmaking to its absolute limits, Fritz Lang created a futuristic, expressionist world of pointed skyscrapers, jagged industrial buildings and intimidating autonomous robots that suggested an intricate world beyond the celled walls of celluloid. Such is made all the more impressive when considering that no such feat in the realms of cinema had ever been achieved before, particularly not to the extent that Lang succeeded. Creating a near three-hour marvel of science fiction cinema, Metropolis contained all the ambition and scope of a modern-day genre classic.

Inspiring filmmakers and visionaries around the world, Metropolis set the standardsby which futuristic films were visualised, judged and appreciated, with Alfred Hitchcock even copying a specific special effect from the film called the Schüfftan process that he would later implement on the film, Blackmail. The vision of Fritz Lang in creating the ethereal future visualised an unprecedented impression of the distant future that was so influential that it continues to have an impact on popular culture today.

The Maschinenmensch robot is the film's glittering centrepiece, equivalent to Stanley Kubrick's towering monolith in 2001: A Space Odyssey that alludes to a great feat in human achievement and endeavour. Lang's distinct image of an ethereal golden being has since been replicated by the likes of Beyoncé and Lady Gaga who have each donned robot costumes closely resembling the robot, whilst Freddy Mercury and Madonna have also been inspired by the classic film.

There's a timelessness to Lang's vision that remains inextricably tied to the art movement of futurism, with the forms key features, dynamism, speed, technology, youth and the industrial city still remaining pertinent features in the lifestyle of the 21st century. Perhaps Lang's vision speaks to a modern reality that is closer to the truth than the jagged skyscrapers of Metropolis suggest. Where science fiction is now cinema's most dominant genre, Metropolis may just be the prophetic godfather of modern times.
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Why 'Metropolis' is the most influential sci-fi movie ever made

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"There can be no understanding between the hand and the brain unless the heart acts as mediator." - Maria ( Metropolis) Back in the 1920s, the future was predicted as one dominated by flying cars, towering skyscrapers and robotic assistants that would be modern slaves to humanity.

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Ninety-eight years ago today, the classic science fiction movie Metropolis was released. Watching it again recently, I was struck by how fresh and visually striking the film still feels, even after nearly a century.

However, Metropolis is more than just a sci-fi masterpiece; it also serves as a fascinating snapshot of the political and social landscape of its time-not only through its themes but also in the lives of those who brought it to life.

The central drama of the movie lies in the stark divide between two social classes: the laborers, numbed by monotonous and grueling tasks, and the affluent class of owners, managers, and their clerks, portrayed as diligently engaging in mathematical and scientific calculations to sustain a vast industrial enterprise. This upper class enjoys a life of luxury and indulgence. Early in the film, during a lavish party in a setting described as "the eternal garden," a striking interruption occurs. A woman appears in the doorway, surrounded by impoverished children, and extends her arms protectively over them. She addresses the partygoers, declaring, "These are your brothers, your sisters." The revelers are stunned into silence, captivated by her presence. Among them is the son of the city's industrial magnate and ruler, who gazes at her, deeply moved. The woman, named Maria, is symbolically portrayed as a virgin.

In 1927, Germany stood on the brink of profound social and political upheaval. The Nazi Party, though still relatively small, was gaining traction and beginning to exert an influence that would shape the nation's trajectory in the years to come.

UFA GmbH, the studio responsible for distributing Metropolis, faced significant financial difficulties and was acquired in 1927 by Alfred Hugenberg, a prominent politician and media tycoon. Hugenberg was the chairman of the German National People's Party, a conservative nationalist party. As its leader, he played a crucial role in Adolf Hitler's rise to power, ultimately supporting Hitler's appointment as Chancellor in 1933 and serving in his first cabinet.

Fritz Lang, the director of Metropolis, and his wife, Thea von Harbou, who authored both the novel and the screenplay, initially showed an interest in the Nazi Party, reflecting the complex and fraught political landscape of the time.

Metropolis presents a chilling vision of a future defined by extreme social inequality, visually represented through its vertical structure: the intellectual elite revel in luxury within towering skyscrapers. At the same time, the industrial working class toils relentlessly beneath the earth's surface. The film critiques modernity and technological progress but ultimately finds a glimmer of hope in the aftermath of Metropolis's apocalyptic collapse. Similarly, the New Objectivity style that later emerged in the Weimar Republic served as a counterpoint to the anti-realist Expressionism embodied by the film. While Metropolis weaves a complex narrative addressing ambition, greed, and the transformative effects of technology on individuals and society, this essay hones in on one central theme: hierarchy. By analyzing the film's set design, visual storytelling, and the 'architecture' of its plot, we can explore its portrayal of hierarchy among humanity, machinery, and the city itself.

Fritz Lang and Thea von Harbou collaborated on several iconic films during their partnership. In addition to Metropolis, they created the 1931 classic thriller M, starring a young Austro-Hungarian Jewish actor, László Löwenstein-better known as Peter Lorre.

When Adolf Hitler rose to power, Peter Lorre fled Germany due to the anti-Semitic laws imposed by the regime. Another star of Metropolis, Brigitte Helm-who played both Maria and the Tin Machine-also fell afoul of the Nazis. She faced persecution for "race defilement" after marrying her second husband, Dr. Hugo Kunheim, an industrialist of Jewish heritage. The couple emigrated to Switzerland in 1935, never to return to Germany.

Joseph Goebbels, Hitler's propaganda minister, admired Fritz Lang's work. Despite banning Lang's 1933 film The Testament of Dr. Mabuse-claiming it depicted that "an extremely dedicated group of people are perfectly capable of overthrowing any state with violence"-Goebbels still offered Lang the position of head of UFA, Germany's leading film studio.

Lang, however, declined the offer and left Berlin on July 31, 1933. Increasingly alarmed by the Nazi Party's power and the introduction of the Nuremberg Laws, Lang decided to emigrate. Although his mother had converted to Catholicism and he was raised Catholic, the Nuremberg Laws classified both him and his mother as Jewish. While Lang had initially shown some sympathy toward the Nazi Party, he quickly became disillusioned. Meanwhile, Thea von Harbou remained a committed Nazi supporter. The couple divorced on April 26, 1933.

Lang emigrated to the United States, where he enjoyed a successful career in Hollywood, directing films such as The Return of Frank James (1940), starring Henry Fonda. In contrast, Thea von Harbou stayed in Germany and continued working in the film industry, producing works with an unmistakable National Socialist worldview.

Today, many people might only recognize Metropolis from Queen's Radio Ga Ga music video, unaware of the film's rich historical and cultural significance. The movie remains a remarkable artifact, reflecting not just a vision of the future but also the tumultuous social and political landscape of its time.
https://en.wikipedia.org/wiki/Metropolis_(1927_film) https://www.imdb.com/title/tt0017136/?ref_=ttmi_ov_i https://www.bfi.org.uk/film/bda6ff8a-ed7e-5942-980d-c2910c0120ec/metropolis https://www.britannica.com/topic/Metropolis-film-1927 https://cjv306.medium.com/the-architecture-of-the-apocalypse-fritz-langs-1927-metropolis-film-review-9cd2321f4eba

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Ninety-eight years ago today, the classic science fiction movie Metropolis was released. Watching it again recently, I was struck by how fresh and visually striking the film still feels, even after nearly a century. However, Metropolis is more than just a sci-fi masterpiece; it also serves as a fascinating snapshot of the political and social...