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Legend of the world cinema
Metropolis is a legend of the world cinema, which fully conveys the spirit of its time. Researchers state that one can even note some Expressionist elements in this movie. It is based on a mixture of biblical motifs and reflections on the class struggle, diluted with the aesthetics of totalitarianism. Metropolis, a city of enormous height, meets the viewer, revealing its impartial insides.
The Plot
Ordinary people live at its lower levels, buried in the ground. They are forced to work from morning to night and live in similar small boxes . On the surface, warmed by the sun instead of thousands of dim lamps, is where the urban elite and aristocracy thrive. All the benefits of the city are at their disposal: theaters, gardens, libraries, cars, cafes, and restaurants. Most importantly, they have access to clean air and hope for a happy future. As it usually happens, the small group of leaders has absolutely nothing to do with the suffering majority. Due to the alternation of darkness and light in the image, this contrast becomes especially visible to viewers.
The making of Metropolis
All the characters in this movie are active; partly, they even seem hyperbolic. Camera work also contributes to emotional stress: it shows the most successful angles, which allows spectators to immerse themselves in what is happening entirely. In addition, the setting and shooting of some scenes are theatrical, which forces the viewer to empathize even more. However, best of all, the director was able to portray human ugliness, stupidity, and conformism. He achieves a vivid picture with the help of costumes, make-up, scenario solutions, and various special effects. Particular attention should be paid to the scenery, since it is truly magnificent for that time, which makes the movie impressive. Thus, even despite insufficient commercial success, Metropolis is one of the brightest works of its time and is worth attention.
Bibliography
Calloway, Colin. New Worlds for All: Indians, Europeans, and the Remaking of Early America. New York: JHU Press, 2012. Piotr Sadowski, The Semiotics of Light and Shadows: Modern Visual Arts and Weimar Cinema. New York: Bloomsbury Publishing, 2017.
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