Just got back from a showing of the fully-restored version of Metropolis, accompanied by the Alloy Orchestra (live!), brought to you by the fine people at Cornell Cinema.

Metropolis (Fritz Lang, 1927)The music matched the movie pretty well – staccato militaristic drum, mechanical rhythm, scraping metal-on-metal, some kitschy chimes.  Both were melodramatic but pull you in nonetheless.  It’s been a while since I’ve heard the original score, but I’d venture to say this captures the spirit of the film if not the minute detail of historical accuracy.

Just a brief thought on the film itself.

There is the highly dominant message Lang wants you to leave with:  “THE MEDIATOR BETWEEN THE HEAD AND HANDS MUST BE THE HEART!”  And there’s much to be said about the religious imagery, the portrayal of gender and sexuality vis à vis a woman-robot, etc.

Being a planner, however, I was of course more interested in what it had to say about the city.  One could read the “Mediator” as a planner, a community advocate, a voice bridging gaps between city and (disenfranchised) population.  That seems too easy and “feel good,” though.

Metropolis:  the City as Body as Machine.  On multiple levels, this metaphor plays out among the three.  The city has a Heart machine, a Brain, and (many) Hands, not to mention circulation (and a pleasure center).  Human bodies become machines, whether working in the underground city, contorting to move clock hands or gyrating on a club stage.  The actors themselves have a very mechanical quality, holding poses, stumbling rigidly, pointing to their head or heart to indicate feeling.  The transfer of life from Maria to the Maria-robot begins with the illuminated heart, then circulation system.  And the machine itself becomes a body in the not-so-subtle reference to Moloch (had to look that one up!), consuming other (apparently Phoenician) bodies so that the city functions.  And in the end, the city could only successfully function as an integrated body of head, heart, and hand.

I would love to hear a discussion about this movie in the context of post-war Germany, the large-scale industrialization of the U.S. and Europe in the 19th-early 20th century, the Art Deco and Futurist movements, Berlin in the 20s, and especially compared against Chaplin’s Modern Times (1936).  Did Chaplin see Metropolis?  Was he spoofing it?  How did the Depression change perception of the City-Machine?  And was Metropolis a particular city?  It looked a lot like New York, and certainly not like Berlin or other European cities at the time!  Did Le Corbusier have a hand (ha) in the design?