Released 10 January 1927 at the Ufa–Palast am Zoo cinema in Berlin, Metropolis is not only one of the greatest silent films ever, but one of the greatest films ever as well. This was also the very first silent I ever saw, at least that I was consciously aware of. This past summer, I was lucky enough to see it at the local indie theatre, at one of their 35-cent matinées. I believe that was the first time I got to see the 148-minute 2010 restoration.
In the year 2026, Joh Frederson presides over the huge, futuristic city of Metropolis. The few haves live in high-rise towers, while the many have-nots toil away in dangerous underground factories. Joh’s pretty son Freder is an idle playboy when the film opens, but all that changes when he falls in instalove with Maria.
Maria has brought the workers’ children aboveground to see how the idle rich live, but this field trip isn’t long-lived. Frederson and his stooges make them leave, but Freder is determined to see Maria again. He goes below ground in search of Maria, and stumbles upon one of the machine rooms. Freder is horrified when the Moloch machine explodes, killing and injuring several workers.
Freder rushes to tell his father about what happened, very shaken. Frederson is upset to learn that not only was Freder prowling around underground, but also that he didn’t learn of this accident from his assistant Josaphat. The foreman of the Heart Machine, Grof, also shows Freder secret maps which were found on two dead laborers. Frederson fires Josaphat for his incompetence.
Freder resolves to do all he can to help the exploited proletariat, after seeing his father cares less about their living and working conditions. These living human souls are just impersonal cogs on a machine to Frederson, expendable commodities.
Frederson gives orders for Freder to be closely watched, but Freder goes back underground. Freder is horrified to see a worker named Georgy struggling and finally collapsing by the paternoster machine (i.e., the giant clock). Georgy pleads that someone must stay by the machine at all times, and Freder kindly volunteers to take his place. They switch clothes, and Georgy gets into Freder’s car.
Frederson goes to visit the mad scientist Rotwang (Rudolf Klein-Rogge, who starred in many of director Fritz Lang’s films, both silents and talkies). Years ago, Rotwang was in love with Hel, who left him for Frederson. Sadly, she died giving birth to Freder. All these years, Rotwang has been obsessed with Hel.
Rotwang is trying to create a robot to take the place of human workers, since it never makes a mistake or gets tired. He sacrificed his own hand towards the creation of this robot.
Rotwang tells Frederson the maps depict a network of catacombs beneath Metropolis, and they go to spy on the workers. Freder is also by this meeting, having been invited under the false impression he’s Georgy. Freder almost didn’t make it to the end of his 10-hour shift, and indeed collapsed at the end, right before the next worker took his place.
By the meeting, Maria tells the story of the Tower of Babel, imparts some spiritual teachings, and promises a mediator will come to save them. Frederson demands Rotwang make the robot in Maria’s likeness, so it can spread discord among the workers.
Rotwang kidnaps Maria, and uses her to bring his robot to life. By the time Freder finds Rotwang, the robot has been animated and gone to Frederson. Freder is shocked to find his father with the woman he believes is his sweetheart, and goes a bit mad. He passes out, and the robot goes to do Rotwang and Frederson’s bidding.
I won’t spoil what happens after this, but suffice it to say, it’s an incredible, powerful, intense, dramatic, emotional journey. The film meant even more to me after my political awakening at age fifteen, but I’ll discuss that more in a later installment.
It’s hard to put into words just how awesome and incredible this film is. Your cinematic education isn’t complete if you haven’t seen Metropolis!