Metropolis (1927) – Crafting Cinematic Surrealism
Crafting Cinematic Surrealism
Cinematic surrealism is a pure foundation found in Fritz Lang’s silent film, Metropolis (1927). The film generates heavy usage of surrealism, crafting images that stay and linger inside the mind of its viewers. Fritz’s surrealistic approach in the film overlooks a combination of imageries and sets an unconscious atmosphere, challenging reality of the story.
Metropolis, a German expressionist science-fiction film describes the roles that the dystopian society places on its citizens. Fritz Lang’s perspective towards this film is that it emphasizes the visualization of surrealism and the ability to experience certain images. But, what exactly influenced Fritz Lang’s images within Metropolis to be so modernistic? During the 1920’s, many styles of avant-garde helped embody modernistic art. One of the genres that encompassed surrealism and abstract expressionism was the Bauhaus movement. This unique aesthetic art style dominated European art and its influence spread through the creation of architecture and design. According to the article, The Influence of Bauhaus art school in Fritz Lang’s Metropolis, “The Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.” (JF Alfaya)
Metropolis can be a defined as a piece of art that is stylized through the creativity of the Bauhaus movement since we are visually given insight to appealing images in relation to architectural styles. Bauhaus can be defined as a dramatic influence that centralizes around graphic designs and architecture. The main purpose of the Bauhaus movement was to combine crafts and fine arts, and its objective was to create self-reflexivity on our perceptions of the world. Surrealism has reshaped the experiences of viewers within the uses new techniques and approaches through exploring the narrative. In this essay, I will address the surrealistic images presented in Metropolis as well as other approaches in the film that communicate and display certain themes.
Through surrealistic images, we are caught to the attention of finding absent narrative logic. This visual attraction can relate to the formal techniques incorporated, such as the use of cinematography, sound, and editing. In the film Metropolis, we are introduced to such alluring imagery which strengthens the cinematography but also is artistically inclined with the mise-en-scene of the city. But, there are sequences where images can evoke frustration. Fritz Lang’s use of shapes and artistic designs create a focus on architectural objects. According to Margret Kentgens-Craig,
“Lotte Eisner finds a direct relationship between Metropolis and the Bauhaus, noting the formal geometry of the film’s mise-en-scène”(43)
Geometrical figures seen throughout the film help cope with the use of visual storytelling, which triggers an investment from audiences. Visually, the shapes of the images displayed throughout the film are precise and perfected that it constructs the image of a dystopian society.
There is a melodramatic sequence in Metropolis where we are presented with an optical illusion.
The montage of eyes serves as a portrayal of the different characters in response to Maria’s dance sequence. The stylized editing in this kaleidoscope image calls attention to the eyes of the viewer. But, this seductive dance conveys a message to the men of Metropolis so that they will obey her. The scene suspends the narrative and calls audiences as it serves as an attraction to not only her sexuality but expands social perceptions of the world. According to “In a way, the spectator’s eye (including the extension of the Kino-eye) acts as a barrier between the technological rationality that modernity implants in the viewer and the viewer’s own body and soul. The Kino-eye becomes the mediator, connecting both the dystopian and utopian elements of technology to create Vertov’s “perfect new man” (Vertov).” The use of the Kino-eye serves as a function of self-reflexivity. This thematic element shapes our view of the modern world, but drives us to look back on ourselves. The series of eyes in this sequence creates such a haunting atmosphere that it is able to maintain a terrifying feeling towards the viewer.
One of the surrealistic approaches incorporated in the film is the choreography, which involves timing and movement from each actor. I found it astonishing how Lang was able to choreograph large crowds of people in such geometrical arrangement. Many of the sequences display in-sync movement which helps cope with surrealistic imagery. In the opening of Metropolis, the political message we are first presented is the uniformed workers aligned and walking in perfect sequence. This theme conveys the relationship between machinery and workers and how there is a blurred line that separates both groups. There is a dream sequence where main protagonist Freder experiences a horrific factory with the workers employed.
The machines that are operated by the workers begin to dysfunction, demonstrating that man has no control in this situation. Ultimately, the factory is transformed into a godly machine called Moloch, where workers are depicted as slaves and thrown into this sacrificial chamber. Humanization is stripped away from the workers, creating the idea of societal cleansing. The theme of dehumanization is expressed through the low-class workers, displaying one’s role in a societal view. They are placed beneath the earth, cut off from the light and must seek purpose in the world. This could relate to how they are unable to communicate to the higher class, which could symbolize religious means. Higher class is placed in a heavenly like world where they are viewed as gods, whereas workers are shaded in the dark and devalued in hell.
Metropolis is a film that well defines surrealism through crafting certain imagery. This imagery allows viewers to experience cinematographic elements, which disrupts the narrative, focusing on formal techniques to help cope a better overall theme. The goal for surrealist cinema films is to capture the beauty and aesthetic qualities through the display of storytelling. But, every director has their own distinct approach through filmmaking which can re-define a certain experience one feels. In this case, Fritz Lang demonstrates his style of calling the attention of the viewer, placing them out of the narrative and into the surrealistic imagery. This concludes on his ability to execute believable interpretations through uses of storytelling. Formal techniques seen throughout Metropolis is essential, since the use of cinematography and editing play an important role within the theme of surrealism. In this essay, I was able to identify the importance surrealism as well as hidden themes conveyed in Metropolis. Ultimately, surrealism is a stylistic form that has the ability to transmit certain images to the eyes of the viewer. Whether it’s absent from the narrative, imagery is a way to allure audiences into the “surreal” experience. That being said, surrealism in Metropolis gives us the opportunity to visualize misinterpreted imagery that forces us to think beyond the narrative.
