1 00:00:21,160 --> 00:00:26,757 More than a quarter of the film must be regarded as irretrievable lost. 2 00:00:28,720 --> 00:00:32,713 Few other films have been so systematically changed, mutilated, 3 00:00:32,760 --> 00:00:38,198 corrupted as this one. Shots and titles have been omitted and changed 4 00:00:44,360 --> 00:00:48,353 However, of no other such mistreated film do we know so well 5 00:00:48,400 --> 00:00:51,358 what the film originally looked like. 6 00:01:02,720 --> 00:01:06,838 Fritz Lang and Thea von Harbou, different-sex Siamese twins. 7 00:01:06,880 --> 00:01:09,872 Just like their film. 8 00:01:22,360 --> 00:01:27,878 The novel: Thea von Harbou's film behind the, under Fritz Lang's film. 9 00:01:42,840 --> 00:01:46,879 At this point, the music started during the first screening... 10 00:01:46,920 --> 00:01:49,912 The Metropolis theme. 11 00:01:50,120 --> 00:01:53,112 A fanfare motif... 12 00:01:53,400 --> 00:01:56,198 the orchestra follows... 13 00:01:56,240 --> 00:01:59,312 a column of sound emerges. 14 00:02:05,560 --> 00:02:08,916 Thea von Harbou's message, Lang didn't believe in it. 15 00:02:08,960 --> 00:02:12,077 He said: "I am fascinated by machines." 16 00:02:15,800 --> 00:02:21,079 Metropolis, the mother city, city of mothers, mother of all cities. 17 00:02:31,480 --> 00:02:34,916 The city, the film... they too are machines. 18 00:02:36,160 --> 00:02:38,151 Flywheels, 19 00:02:38,560 --> 00:02:40,551 a crankshaft, 20 00:02:41,720 --> 00:02:43,711 an eccentric disk, 21 00:02:44,480 --> 00:02:48,075 A machine without Workers, devoid of function, 22 00:02:48,520 --> 00:02:51,557 pure movement... rotating, thrusting... 23 00:02:52,080 --> 00:02:56,358 a machine of desire. Round shapes and jerking movements become one 24 00:02:56,400 --> 00:02:58,868 within the image of two clocks. 25 00:03:03,840 --> 00:03:06,832 One 12-hour and one 10-hour clock. 26 00:03:16,200 --> 00:03:21,957 Day shift and night shift, 10 hours each, mark the Metropolis working day. 27 00:03:22,000 --> 00:03:25,834 Two groups of Workers, uniformed, in rows of six, 28 00:03:26,200 --> 00:03:30,671 march in unison, the exhausted half as fast as the fresh. 29 00:03:31,880 --> 00:03:36,829 "They moved their feet, but were not walking", reads the novel. 30 00:03:37,800 --> 00:03:41,918 The way people move or are moved is always highly significant 31 00:03:41,960 --> 00:03:44,952 throughout the film. 32 00:03:50,400 --> 00:03:53,358 The Workers' theme - a funeral march. 33 00:04:11,520 --> 00:04:14,432 The night shift enters a cage... 34 00:04:15,360 --> 00:04:18,352 the grate is raised, 35 00:04:18,760 --> 00:04:21,877 the cage sinks, and with it the camera. 36 00:04:28,640 --> 00:04:31,438 A title picks up the movement. 37 00:04:33,840 --> 00:04:37,879 "Even the titles", the young Luis Bu�uel wrote in his review of the film, 38 00:04:37,920 --> 00:04:41,913 "how they rise and fall, blend with the movement as a whole, 39 00:04:41,960 --> 00:04:45,191 become pictures themselves." 40 00:04:45,520 --> 00:04:49,513 The title's movement is carried through to the movement of the picture. 41 00:04:49,560 --> 00:04:53,758 The Workers: Now just a painted silhouette rising in the background, 42 00:04:53,800 --> 00:04:57,236 the design of the Underground Workers' City. 43 00:04:58,360 --> 00:05:02,353 Elevators transport the Workers up and down between the machine halls 44 00:05:02,400 --> 00:05:06,075 and their living quarters. A new musical theme: 45 00:05:06,400 --> 00:05:09,358 The Theme of the City of the Workers. 46 00:05:21,560 --> 00:05:25,838 The main square of the Workers' City. Simply a transit area for the Workers 47 00:05:25,880 --> 00:05:29,793 returning to their quarters. In the centre a gong, 48 00:05:29,920 --> 00:05:33,151 again a kind of alarm clock. 49 00:05:44,640 --> 00:05:48,838 The downward scroll of the title is answered by a rising, 50 00:05:48,880 --> 00:05:51,997 equilateral triangle pointing skywards. 51 00:06:02,200 --> 00:06:04,191 The Sports stadium, 52 00:06:04,280 --> 00:06:08,273 the contrast is stark between its openness under sweeping skies 53 00:06:08,320 --> 00:06:12,598 and the cramped City of the Workers - just as stark as the contrast between 54 00:06:12,640 --> 00:06:16,758 the liberated and carefree movements of the youths, dressed in white, 55 00:06:16,800 --> 00:06:20,793 and the dull lethargy of the darkly clothed Workers - 56 00:06:20,840 --> 00:06:24,833 and the self-determined horizontal movement versus the downward ride 57 00:06:24,880 --> 00:06:28,031 of the Workers in the lift. 58 00:06:38,480 --> 00:06:41,916 A light-hearted waltz, no musical leitmotiv, 59 00:06:42,000 --> 00:06:45,515 accompanies this scene. An artificial grotto, 60 00:06:45,600 --> 00:06:50,355 columns like stalactites, young women in rococo carnival costumes, 61 00:06:50,400 --> 00:06:52,960 Orient-inspired head adornments. 62 00:07:06,560 --> 00:07:09,438 The tricorn is of Venetian origin. 63 00:07:13,760 --> 00:07:17,753 In contrast to the straight course of the young men - 64 00:07:17,800 --> 00:07:21,713 animated turns - anticlockwise - 65 00:07:21,840 --> 00:07:24,798 directed by a ringmaster - clockwise. 66 00:07:45,480 --> 00:07:49,439 A playground is the pleasure garden of the sons, an infantile idyll. 67 00:07:49,480 --> 00:07:52,950 Nature, sex, eroticism in chaste playfulness - 68 00:07:53,000 --> 00:07:56,709 like the water in the fountain: A transparent dome 69 00:07:56,760 --> 00:07:59,752 masking a statue of a siren. 70 00:08:12,720 --> 00:08:17,635 The youth in white breeches and the girl with the Cul de Paris play hide and seek. 71 00:08:17,680 --> 00:08:20,399 Their game a dance, a pas-de-deux. 72 00:08:25,080 --> 00:08:29,073 Allusion, yet so intensely innocent 73 00:08:29,120 --> 00:08:32,749 that we do not actually expect a real kiss. 74 00:08:33,840 --> 00:08:36,149 Instead an expectant glance - 75 00:08:38,360 --> 00:08:43,878 musically accompanied by a new theme, let us call it the Love Theme... 76 00:08:58,600 --> 00:09:03,958 answered by an apparition, "dressed in light grey", it reads in the screenplay, 77 00:09:04,000 --> 00:09:07,993 "from the smallest of d�collet�s rises a head with solemn eyes 78 00:09:08,040 --> 00:09:11,032 and glowing blonde hair". 79 00:09:13,080 --> 00:09:17,073 "The austere countenance of the virgin, the sweet countenance of the mother", 80 00:09:17,120 --> 00:09:18,633 reads the novel. 81 00:09:22,080 --> 00:09:25,072 The mother without a man... Freder's dream. 82 00:09:32,720 --> 00:09:35,678 New to the music is the Freder Theme, 83 00:09:35,760 --> 00:09:40,880 it describes him as a light-hearted, harmless soul - A pure fool. 84 00:09:41,760 --> 00:09:46,197 The subject of her glance is Freder, the brother, the son of Fredersen, 85 00:09:46,240 --> 00:09:52,076 the nothing-more-than-son. All names in Metropolis are steeped in meaning. 86 00:10:01,480 --> 00:10:05,473 Heralded by the clarinet - a new chorale based theme, 87 00:10:05,520 --> 00:10:10,719 which from now on will accompany the entrances of the young woman. 88 00:10:44,160 --> 00:10:47,596 A door closes, communication is interrupted. 89 00:10:48,640 --> 00:10:52,633 This will be repeated at several decisive moments throughout the film, 90 00:10:52,680 --> 00:10:57,879 providing the impetus for further action on the part of its heros. 91 00:11:08,640 --> 00:11:12,633 "Nothing could help him - nothing", the novel states at this point. 92 00:11:12,680 --> 00:11:16,798 "In a tortuous, ecstatic omnipresence stood before his eyes the vision, 93 00:11:16,840 --> 00:11:20,833 a countenance: The austere countenance of the virgin, 94 00:11:20,880 --> 00:11:23,838 the sweet countenance of the mother." 95 00:11:35,360 --> 00:11:39,512 Later, we learn that Freder lost his mother at birth. 96 00:11:49,840 --> 00:11:51,831 Freder runs. 97 00:11:59,800 --> 00:12:03,873 Where will Freder search for the virgin, the mother? 98 00:12:06,880 --> 00:12:13,115 Not in the Workers' City, as one would think. Freder arrives in a machine hall. 99 00:12:18,880 --> 00:12:22,873 In this film, we can never be sure whether what we see, 100 00:12:22,920 --> 00:12:26,913 what the characters see, actually represents reality 101 00:12:26,960 --> 00:12:33,035 or is a hallucination, a vision, a dream which sometimes becomes a nightmare. 102 00:12:36,320 --> 00:12:40,233 Freder searches for a woman - and finds a machine. 103 00:12:45,760 --> 00:12:50,834 In the novel, he now comes face to face with a machine of his own construction. 104 00:12:50,880 --> 00:12:55,158 He strokes it, feels its limbs, presses his face to its bulk. 105 00:12:55,200 --> 00:12:59,193 In the film, the machine is also a living organism. 106 00:12:59,480 --> 00:13:04,554 Freder in the novel: "Tonight I shall allow myself to be embraced by you, 107 00:13:04,600 --> 00:13:09,355 pour my life into you and discover whether I can give you life." 108 00:13:09,400 --> 00:13:13,439 Blood pressure and temperature of the film machine rise. 109 00:13:13,480 --> 00:13:17,473 "Perhaps I will feel your trembling and the sprouting of pulse 110 00:13:17,520 --> 00:13:21,513 in your rigid body. Perhaps I shall experience the intoxication 111 00:13:21,560 --> 00:13:25,838 with which you hurl yourself into your vast element, bearing me, 112 00:13:25,880 --> 00:13:28,872 the man who made you." 113 00:13:31,480 --> 00:13:34,836 But Freder also knows, Freder in the novel: 114 00:13:35,000 --> 00:13:38,993 "Nothing in this world is more vengeful than the jealousy of a machine 115 00:13:39,040 --> 00:13:42,032 that feels neglected." 116 00:13:48,000 --> 00:13:51,834 In the film, the machine is called the M Machine. 117 00:13:52,720 --> 00:13:55,712 M as in mother? 118 00:13:59,240 --> 00:14:01,879 M as in Moloch. The Moloch theme - 119 00:14:03,240 --> 00:14:05,629 a threatening musical gesture. 120 00:14:15,880 --> 00:14:20,829 The film of the future is also a film of Antiquity, a biblical film. 121 00:14:20,880 --> 00:14:24,919 Moloch, the God of the Ammonites, to whom the Israelites also sacrificed children, 122 00:14:24,960 --> 00:14:29,590 to the chagrin of Moses and his God. The film is littered with associations 123 00:14:29,640 --> 00:14:33,030 to the Old and New Testaments. 124 00:14:50,880 --> 00:14:56,113 In the music, the Moloch Theme switches to the Theme of the Workers' City. 125 00:14:56,160 --> 00:15:00,392 Platoons of Workers, in rows of six, march into the mouth of Moloch, 126 00:15:00,440 --> 00:15:03,637 which transforms back into the machine. 127 00:15:17,800 --> 00:15:21,793 A machine, which produces nothing, which requires the tribute 128 00:15:21,840 --> 00:15:25,833 of the dead and injured - like the bloody battles of the war, 129 00:15:25,880 --> 00:15:30,271 which occurred only ten years before the film was made. 130 00:15:56,960 --> 00:15:59,428 Freder runs again... 131 00:16:21,880 --> 00:16:25,316 "Towering structures", it says in the novel, 132 00:16:25,920 --> 00:16:29,913 "packed together in blocks, tower up either side of the streets - 133 00:16:29,960 --> 00:16:33,953 more like mountain ranges than homes, stone cliffs interspersed 134 00:16:34,000 --> 00:16:37,993 with glass-and-concrete buildings - wide pavements rise above 135 00:16:38,040 --> 00:16:41,476 car-only streets - and long-distance trains, 136 00:16:41,760 --> 00:16:45,435 electrical express trains intersect the streets, 137 00:16:45,480 --> 00:16:48,756 aeroplanes hover..." And in the background 138 00:16:49,000 --> 00:16:52,515 "the New Tower of Babel, towering above all." 139 00:17:14,000 --> 00:17:17,595 In the music, the Fredersen theme portrays him 140 00:17:18,040 --> 00:17:22,079 as a self-confident autocrat. Joh Fredersen, Joh with h - 141 00:17:22,120 --> 00:17:25,476 Jehova! He is both monopolist and dictator. 142 00:17:31,120 --> 00:17:35,113 In Thomas Pinchon's novel "Gravity's Rainbow", Franz P�kler, 143 00:17:35,160 --> 00:17:38,914 a kind of Wernher von Braun, remembers the film, 144 00:17:39,200 --> 00:17:43,671 which he saw as a student in Berlin, "Great movie." Exactly the world P�kler, 145 00:17:43,720 --> 00:17:47,713 and evidently quite a few others, were dreaming about, 146 00:17:47,760 --> 00:17:51,992 a corporate City-State, in which technology was the source of power, 147 00:17:52,040 --> 00:17:56,272 and in which engineers worked closely with administrators, 148 00:17:56,320 --> 00:18:00,871 and ultimate power lay with a single leader at the top..." 149 00:18:17,800 --> 00:18:21,793 No sooner had Freder entered this room, according to Thea's novel, 150 00:18:21,840 --> 00:18:28,154 "than he was once again a boy of ten". Nothing more than the son of this father. 151 00:18:32,920 --> 00:18:38,278 The music, the Moloch theme, tells us what Freder is speaking about. 152 00:18:44,960 --> 00:18:51,354 The gestures of the son, unlike those of the father, display trust, seek contact. 153 00:19:14,360 --> 00:19:18,911 Fredersen looks past him, his gaze rests on the secretary. 154 00:19:30,840 --> 00:19:35,789 Fredersen's glances are orders, as are his words, his gestures. 155 00:20:03,720 --> 00:20:08,510 Camera movements are rare in Metropolis and are always significant. 156 00:20:08,560 --> 00:20:12,553 Here, the camera is guided by the movements of the actors, 157 00:20:12,600 --> 00:20:16,832 the pace of the discussion moves the camera, stops it, 158 00:20:19,640 --> 00:20:21,631 moves it on... 159 00:20:22,560 --> 00:20:25,552 first it progresses... 160 00:20:30,880 --> 00:20:33,872 Then it pans with father and son. 161 00:21:15,760 --> 00:21:21,756 It is in the children, not the adults, that Freder recognises his siblings - 162 00:21:23,840 --> 00:21:27,276 himself as the infant prodigy of the virgin, 163 00:21:27,600 --> 00:21:29,750 the motherly, 164 00:21:29,800 --> 00:21:32,792 a kind of infant Jesus. 165 00:21:54,480 --> 00:21:59,110 Fredersen is not only ruler but also builder of Metropolis. 166 00:22:02,360 --> 00:22:05,079 His city - an architectural dream, 167 00:22:06,160 --> 00:22:09,118 a dazzling futuristic city, 168 00:22:09,160 --> 00:22:12,038 constructivist towering structures - 169 00:22:12,280 --> 00:22:16,273 as the urban crownof the New Tower of Babel. 170 00:22:54,280 --> 00:22:57,317 First from the strings, then the horns, 171 00:22:58,160 --> 00:23:02,392 allegro alla marcia, the Theme of the Uprising begins. 172 00:23:30,960 --> 00:23:33,918 A video telephone on the wall behind. 173 00:23:34,000 --> 00:23:38,596 Fredersen's office is the control, communication and command centre. 174 00:23:38,640 --> 00:23:42,076 His power is based on information. 175 00:24:08,360 --> 00:24:14,037 Above Fredersen on the wall, the lower edge of the 10-hour clock is now visible. 176 00:24:14,080 --> 00:24:20,235 Fredersen's power lies in his ability to control the time of his subordinates. 177 00:24:41,480 --> 00:24:44,597 The Worker, the capitalist, 178 00:24:44,640 --> 00:24:48,235 the clerk - the model of modern class society. 179 00:25:07,520 --> 00:25:11,513 The position of the seemingly privileged employee is, in fact, 180 00:25:11,560 --> 00:25:14,552 the most precarious. 181 00:26:07,640 --> 00:26:10,518 Again a door closes behind somebody, 182 00:26:11,680 --> 00:26:14,148 this person's disappearance 183 00:26:14,200 --> 00:26:18,079 motivating Freder to dedicate himself to this person: 184 00:26:32,880 --> 00:26:36,873 "That people are consumed by the machines", explains the father 185 00:26:36,920 --> 00:26:40,913 to the son in the novel, "does not prove that the machines are greedy, 186 00:26:40,960 --> 00:26:44,953 but rather portrays the defective material of the people themselves." 187 00:26:45,000 --> 00:26:48,390 In industry as well as in war. 188 00:26:54,360 --> 00:26:57,352 Again, Freder runs. 189 00:27:00,160 --> 00:27:01,240 For the father the door closes behind him. 190 00:27:01,240 --> 00:27:03,435 For the father the door closes behind him. 191 00:27:36,160 --> 00:27:39,596 Two rooms, two scenes, screened in parallel, 192 00:27:39,640 --> 00:27:43,315 interrelated, contrasting, the characters, too, 193 00:27:43,760 --> 00:27:47,594 one commenting on the other - here the staircase, 194 00:27:49,200 --> 00:27:55,435 there Fredersen's office - this becomes one of the film's narrative techniques. 195 00:28:15,400 --> 00:28:17,789 Freder has followed Josaphat - 196 00:28:21,880 --> 00:28:26,032 Fredersen, on the other hand, summons "The Slim One". 197 00:29:12,600 --> 00:29:15,433 Fredersen in right profile. 198 00:29:22,160 --> 00:29:26,756 The Slim One in left profile. Take note of just how differently 199 00:29:26,800 --> 00:29:29,473 Lang stages dialogue. 200 00:29:36,840 --> 00:29:40,992 Freder again heading downstairs - "into the depths" - 201 00:29:51,600 --> 00:29:55,229 - and again in an act of viewing. 202 00:30:07,360 --> 00:30:11,672 Once again he is confronted with the spectacle of a machine. In the novel, 203 00:30:11,720 --> 00:30:15,713 it is called "the Paternoster machine" - so let's keep it so -, 204 00:30:15,760 --> 00:30:19,753 it keeps the elevator system in the New Tower of Babel moving. 205 00:30:19,800 --> 00:30:25,079 In the film it has no obvious function, it is purely metaphorical - 206 00:30:29,600 --> 00:30:32,592 an allegorical machine, if you like. 207 00:31:33,200 --> 00:31:38,797 The change of clothing manifests Freder's rebellion against the father. 208 00:31:43,760 --> 00:31:47,753 This is the beginning of the incarnation of the son of Jehovah, his passion. 209 00:32:17,080 --> 00:32:22,074 This cut is, up to now, the most serious intervention carried out by the adaptors. 210 00:32:22,120 --> 00:32:26,113 The critic Roland Schacht praised the missing sequence: 211 00:32:26,160 --> 00:32:30,153 Illusions similar to that of the Yoshiwara pleasure palace, 212 00:32:30,200 --> 00:32:34,193 which distract Georgy from fulfilling his task, have been used 213 00:32:34,240 --> 00:32:38,438 in French avant-garde films - "but never to such tremendous, 214 00:32:38,480 --> 00:32:42,393 synthetic, characteristic effect as in this false, 215 00:32:42,520 --> 00:32:45,751 dazzling 'wax make-up' way". 216 00:32:50,480 --> 00:32:54,029 In ancient times, reads the novel, a magician from the Orient 217 00:32:54,080 --> 00:32:57,072 built the house in seven days. 218 00:33:01,080 --> 00:33:04,277 Then, from a far distance came Rotwang and, 219 00:33:04,320 --> 00:33:08,154 overcoming great resistance, took it for his own. 220 00:33:11,320 --> 00:33:16,110 The Rotwang musical theme is reminiscent of the Moloch music. 221 00:33:22,280 --> 00:33:28,037 Fredersen is the only person in Metropolis who respects Rotwang's genius. 222 00:33:42,760 --> 00:33:49,074 The removal of this figure is the gravest manipulation executed by the adaptors. 223 00:33:49,240 --> 00:33:53,233 The Hel of the Nordic sagas was the ruler of the underworld, 224 00:33:53,280 --> 00:33:56,352 motherly Goddess of Death. 225 00:34:01,000 --> 00:34:04,072 In Hel, Rotwang has lost his lover, 226 00:34:10,800 --> 00:34:13,075 Fredersen his wife, 227 00:34:14,000 --> 00:34:19,358 Freder his mother - the loss inspires each of them in their actions. 228 00:34:27,840 --> 00:34:30,718 How Lang stages a dramatic dialogue. 229 00:34:41,280 --> 00:34:43,840 Fredersen in right profile - 230 00:34:49,560 --> 00:34:52,836 Rotwang frontal, eyes towards the camera - 231 00:34:54,560 --> 00:34:55,993 both, 232 00:34:58,160 --> 00:35:02,153 Fredersen in right profile, Rotwang in left profile. 233 00:35:11,200 --> 00:35:16,069 The audience alternating, at times addressee, at times distanced observer. 234 00:35:36,840 --> 00:35:41,436 Curtain up for Rotwang's first scene, the entry of the mechanical woman, 235 00:35:41,480 --> 00:35:43,914 the New Hel. 236 00:35:43,960 --> 00:35:47,475 On the wall a pentagram, the magical symbol - 237 00:35:48,000 --> 00:35:51,754 the tip pointing downwards suggests the satanic. 238 00:35:52,000 --> 00:35:56,039 A metallic phallus with female physical attributes, with breasts 239 00:35:56,080 --> 00:36:00,551 and on the abdomen, mounted and exhibited, the genitalia. 240 00:36:16,000 --> 00:36:20,118 The music echoes the most important components of the Mechanical Woman Theme. 241 00:36:20,160 --> 00:36:24,995 It comprises three motifs, attributed to the various aspects of the being, 242 00:36:25,040 --> 00:36:29,511 and which at times appear separately, at times in unison. 243 00:37:26,880 --> 00:37:30,873 Rotwang's artificial limb is steel, steel from the steel of the creature 244 00:37:30,920 --> 00:37:33,912 to whom he sacrificed his hand. 245 00:38:03,120 --> 00:38:07,272 Another parallel scene - Freder still at the machine, 246 00:38:08,280 --> 00:38:12,273 Fredersen with Rotwang - determines the next sequence. 247 00:38:38,160 --> 00:38:41,391 The plan... Fredersen's copy 248 00:38:49,720 --> 00:38:53,076 and the one which Freder finds... 249 00:38:53,760 --> 00:38:57,753 acts as the pivot between both strands of the plot. 250 00:39:36,080 --> 00:39:39,072 Rotwang's library - Ancient tomes - 251 00:39:39,120 --> 00:39:44,797 and a neon spiral lamp - Rotwang caught between Middle Ages and future - 252 00:39:46,040 --> 00:39:50,397 Fredersen in contrast, with a Chronom�tre Movado on his wrist, 253 00:39:50,440 --> 00:39:53,398 is the epitome of twenties modernity. 254 00:40:36,960 --> 00:40:40,714 Freder's Passion - the factory is his Golgotha - 255 00:40:41,000 --> 00:40:45,551 his cross the clock, the Father-God's instrument of power. 256 00:42:23,120 --> 00:42:26,078 The omnipotent is not omniscient. 257 00:42:26,280 --> 00:42:31,308 Lack of information is the motivation for Fredersen's departure. 258 00:42:37,600 --> 00:42:41,559 For the first time we see him physically in motion, 259 00:42:41,600 --> 00:42:45,229 moving from one scene to another. 260 00:43:15,280 --> 00:43:19,353 Fredersen and Rotwang descend - from right to left - 261 00:43:22,160 --> 00:43:25,755 left-right the Workers - Freder between them - 262 00:43:30,560 --> 00:43:33,916 both groups heading towards the same scene. 263 00:43:58,160 --> 00:44:02,153 Freder, hand on heart again - the Love Theme from the garden scene 264 00:44:02,200 --> 00:44:05,636 in the background -, sees "a type of crypt", 265 00:44:05,880 --> 00:44:11,238 it states in the screenplay, with "eight or ten tall, rough crosses, 266 00:44:11,280 --> 00:44:14,272 but no crucifix. 267 00:44:14,800 --> 00:44:20,158 Countless niches in the walls, the bones and skulls of thousands of departed 268 00:44:20,200 --> 00:44:22,668 barely visible in the shadows." 269 00:44:25,080 --> 00:44:29,790 A mixture of early Christian place of worship (Sienkiewicz's Quo Vadis 270 00:44:29,840 --> 00:44:34,072 had just been filmed with Emil Jannings) And pagan underworld 271 00:44:34,120 --> 00:44:38,989 is the place where Freder meets the Virgin, the mother, again. 272 00:44:41,480 --> 00:44:46,110 "Look at me, Virgin, his eyes prayed", it says in the novel, 273 00:44:46,160 --> 00:44:49,152 "Mother, look at me!" 274 00:44:58,400 --> 00:45:02,552 Both strands of the plot intertwine in Rotwang's and Fredersen's 275 00:45:02,600 --> 00:45:05,751 glance down into the crypt. 276 00:45:06,080 --> 00:45:09,356 They do not recognise Freder in the scene. 277 00:45:21,160 --> 00:45:24,197 The preacher is reciting a screenplay, 278 00:45:35,960 --> 00:45:38,997 which Freder turns into a film for us. 279 00:45:43,680 --> 00:45:47,036 The Creative Man, priest, ruler, architect. 280 00:45:49,160 --> 00:45:54,837 Accompanied by the music, played during the opening credits of the film. 281 00:46:08,360 --> 00:46:12,353 What here looks like a mammoth construction in panoramic shot 282 00:46:12,400 --> 00:46:18,157 turns out to be a model, around which a group of architects has gathered. 283 00:46:22,480 --> 00:46:26,109 New to the music: The Tower of Babel Theme. 284 00:46:47,160 --> 00:46:51,153 Five groups of Workers, a metaphor: Like the fingers on a hand. 285 00:48:08,200 --> 00:48:12,352 End of the simile, the sermon, end of the projection. 286 00:48:18,480 --> 00:48:22,075 A look into the camera, into our eyes. 287 00:48:29,200 --> 00:48:33,193 The epigram. This is awarded its own musical motif. 288 00:49:05,600 --> 00:49:08,592 Thus we learn her name. 289 00:49:08,720 --> 00:49:12,713 In the novel Freder asks: "What should I call you?" 290 00:49:12,760 --> 00:49:15,911 She answers: "Mary." He answers: 291 00:49:16,720 --> 00:49:20,030 "Only this can be your name." 292 00:49:40,280 --> 00:49:43,955 Allegro alla marcia: The Theme of the Uprising. 293 00:49:52,280 --> 00:49:55,317 Fredersen believes he has seen enough. 294 00:50:13,160 --> 00:50:18,154 What Rotwang sees, however, and wants to prevent Fredersen from seeing, 295 00:50:18,200 --> 00:50:21,795 because a new plan is germinating in his mind: 296 00:50:26,840 --> 00:50:31,470 A dialogue is opening. Freder's gaze is searching for Mary. 297 00:50:32,240 --> 00:50:35,232 His hand beckons her, 298 00:50:42,280 --> 00:50:45,272 he begins to speak, 299 00:50:49,560 --> 00:50:52,313 his eyes follow her, 300 00:50:52,360 --> 00:50:57,480 the camera assumes his gaze, which become one with her movements, 301 00:51:03,640 --> 00:51:08,111 scans her gaze, sweeps her gaze directly into the camera, 302 00:51:11,160 --> 00:51:14,152 moving gently to him, 303 00:51:15,120 --> 00:51:20,240 unites both in the picture... the speaker always in semi-profile, 304 00:51:20,440 --> 00:51:23,318 the listener laterally from behind. 305 00:51:39,200 --> 00:51:43,432 An erotic dialogue, regardless of what the titles say. 306 00:51:50,920 --> 00:51:53,912 The Love Theme is playing 307 00:51:58,720 --> 00:52:01,075 - now stops - 308 00:52:01,120 --> 00:52:05,113 and is replaced by the Rotwang and Fredersen Themes 309 00:52:05,160 --> 00:52:08,152 in accentuated variations. 310 00:52:39,360 --> 00:52:44,388 The couple is musically threatened by the Theme of the Uprising. 311 00:53:18,280 --> 00:53:22,114 Will Rotwang give up his project to recreate Hel, 312 00:53:22,320 --> 00:53:28,316 or will he extend it, if it can be used to steal his rival's son from him... 313 00:53:37,720 --> 00:53:40,712 the son of Hel, 314 00:53:41,400 --> 00:53:44,039 who he himself expected from her? 315 00:55:14,880 --> 00:55:18,953 Mary's light is candlelight, natural, soft like her. 316 00:56:25,400 --> 00:56:28,358 The realm of death, the realm of Hel. 317 00:56:28,840 --> 00:56:32,753 Is Freder's dead mother jealous of her son's love, 318 00:56:32,880 --> 00:56:36,634 is this why she joins forces with her destroyer? 319 00:56:58,040 --> 00:57:02,033 Rotwang's lamp is a mechanical tool, like his steel hand, 320 00:57:02,080 --> 00:57:05,436 the entire man a hybrid of man and machine. 321 00:57:06,080 --> 00:57:11,108 Lucifer, "the bringer of light", is one of the Evil One's names. 322 00:57:17,560 --> 00:57:21,519 He showed this scene to a Hollywood specialist, wrote Lang. 323 00:57:21,560 --> 00:57:25,553 "This beam of light which impales the prey on a sharp needle, 324 00:57:25,600 --> 00:57:29,593 refuses to release it, driving it before him in relentless pursuit, 325 00:57:29,640 --> 00:57:34,111 onwards into a state of abject panic, caused the mild-mannered American 326 00:57:34,160 --> 00:57:39,109 to confess naively: 'We can't do this! ' They could do it", said Lang, 327 00:57:39,160 --> 00:57:43,438 "they just did not think of it", and: "Light and shadow should not only 328 00:57:43,480 --> 00:57:49,635 be used to convey a mood, but should also play a decisive role in the action." 329 00:58:39,480 --> 00:58:43,234 The cathedral: A second piece of the Middle Ages 330 00:58:43,520 --> 00:58:47,513 "Mysticism, gothic, grandeur, 331 00:58:47,560 --> 00:58:51,155 ceremony, incense", it says in the screenplay, 332 00:58:51,480 --> 00:58:55,473 "in the centre of the scene, a column reaching towards the heavens 333 00:58:55,520 --> 00:58:59,513 like the trunk of a palm." In the novel the cathedral harbours a fanatical sect, 334 00:58:59,560 --> 00:59:04,031 the Gothics, who persistently offer Fredersen resistance. 335 00:59:25,160 --> 00:59:30,439 The adaptors of the film reduced this strand of the plot even more. 336 00:59:46,000 --> 00:59:49,993 Again, a parallel action which interferes in the current action, 337 00:59:50,040 --> 00:59:53,430 transforms it into a fantasia. 338 01:00:01,640 --> 01:00:05,553 The music in the cathedral scene: The "Dies irae", 339 01:00:05,680 --> 01:00:08,797 musical epitome for death and disaster. 340 01:00:09,040 --> 01:00:13,033 In the original version of the film, the musical leitmotif is intertwined 341 01:00:13,080 --> 01:00:18,677 with the memory of the penitential sermon of the monk at the cathedral. 342 01:01:11,240 --> 01:01:15,711 This is the longest piece to have been cut from the film. 343 01:02:25,720 --> 01:02:28,439 The story of Freder, the good boy, 344 01:02:29,800 --> 01:02:33,793 Rotwang, the sorcerer and the abducted Mary gives Metropolis 345 01:02:33,840 --> 01:02:38,311 the air of a fairytale in a particularly unambiguous way. 346 01:03:01,200 --> 01:03:05,512 Many fairytales are based on the abduction of a person. 347 01:03:12,720 --> 01:03:16,474 The evil character captures or imprisons someone, 348 01:03:16,520 --> 01:03:19,796 he foists another person onto this person, 349 01:03:20,520 --> 01:03:25,640 he transforms the person into another or presents another person as the captive... 350 01:03:25,680 --> 01:03:28,478 as Rotwang intends to do with Mary. 351 01:03:29,480 --> 01:03:32,950 The hero, searching for the object or person he is missing, 352 01:03:33,000 --> 01:03:36,993 reaches the place where the captive is being held.