Alfred Abel - Joh Fredersen
Gustav Fröhlich – Freder
Brigitte Helm – Maria
Rudolf Klein-Rogge - C. A. Rotwang
Heinrich George - Grot, Foreman of the Heart Machine.
The social study done in this film is the representation of a time, from the beginning of the Industrial Revolution to today. The world is divided into two parts. Those that rule and those that serve, and this is a concept the film really puts forward. The amazing scene where the workers enter the factory in unison, entering giant lifts that brings them down into the bowels of a man made hell, is a stark contrast to the freedom and monochromatic colours of the garden for the rich youth of the town. The group entering the factory walk in a slower manner than the one coming out, yet still on the same rhythm and following the music. As the movie continues we are shown more and more extravagant and bizarre contraception, until we are shown a panorama view of the whole city from the office of Her Fredersen. The splendid view is a stark contrast between the underground cave where Maria, played by Brigitte Helm, is idolized as a saint and as a portent of hope.
The film stands the test of time, and is more genuine today than any film that has come out in the last decade. Its satire of modern society shows how little our society has evolved in a positive way in a century of evolution. All the negative curves are on a positive slope while the positive are on a negative slope. The traders and capitalist dictators have not changed, except perhaps in denomination, and still pollute the march forward that society should be undertaking. Metropolis perfectly exemplifies how disconnected the different stratums of society are. It also shows the lack of control the ruling class has over what it creates. As shown by the mad scientist, Rotwang, who fails to control his strange yet enthralling Maschinenmensch. Today has not changed much, with the governments of the world’s modern and industrialized countries having completely lost control of the infernal creation that is the world’s modern economical system. “The "Maschinenmensch" robot based on Maria is a brilliant eroticisation and fetishisation of modern technology and the current crisis in
, whose economic boom was founded on a colossal import of globalised labour, makes Metropolis seem very contemporary.” Peter Bradshaw, from the Guardian, resumes well, giving a concrete example of a modern Metropolis through Dubai . I can give first hand accounts of Dubai , having been there, and the resemblance between the two is striking. It is hard to see anyone else but workers on the lower levels and streets of the vast and tall buildings, with the ruling class only known to live, one could put it metaphorically, above the clouds. Dubai