Fritz Lang and His “Metropolis” Drama Film

Delving into the rich tapestry of art history, German Expressionism emerges as a pivotal realm, utilizing visual storytelling to encapsulate not just narratives but also the profound emotional landscapes of characters. Within this avant-garde movement, the luminary figure of director Fritz Lang stands out as a humanist, a torchbearer of German symbolists.

Born on December 5, 1890, in Vienna, amidst the cultural tapestry of Austria-Hungary, Lang's roots in architecture ran deep, courtesy of his father, Anton Lang, an architect, and his mother, Paula.

Paula, with a Jewish heritage, embraced Catholicism, instilling in Lang a disciplined religious upbringing. Lang's artistic inclination manifested early in his life, finding solace in the world of drawing. Despite initially charting a course in his father's architectural footsteps, Lang's artistic compass soon directed him elsewhere.

Embarking on his academic journey, Lang enrolled in the architecture department of the Higher Technical School. Yet, the first semester proved to be a revelation, leading him to the realization that his true calling lay beyond the realm of architecture.

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A swift course correction ensued as he transitioned to the Vienna Academy of Graphic Arts, immersing himself in the study of painting. Three years later, the vibrant artistic scene of Munich beckoned, drawing Lang to further enrich his skills at the Munich Art School (McGilligan 14).

Lang's trajectory, from the architectural corridors to the vibrant palette of painting, showcases a transformative odyssey. The fusion of his diverse influences, coupled with his innate artistic flair, laid the foundation for a directorial legacy that would shape the contours of German Expressionism.

Amidst this cinematic revolution, Lang's magnum opus, "Metropolis," stood as a testament to his adept utilization of expressionist motifs, particularly the portrayal of the masses.

In the crucible of Lang's life and artistic evolution, we find the alchemy that birthed a director whose visual prowess resonated far beyond the screen, transcending into the realms of emotion and societal commentary. The narrative of Fritz Lang, the humanist inheritor of German symbolist ideals, becomes a fascinating chapter in the broader canvas of art history.

As the specter of World War I unfolded, a 25-year-old Fritz Lang, driven by a sense of duty, willingly enlisted in the Vienna Artillery Division No. 13 (Ott 22). Three intense years in the crucible of battles left him seriously injured but also gave birth to a new facet of his creativity. While convalescing in the hospital, Lang began crafting stories that swiftly captivated producers, finding tangible form in films like "Hilde Warren and Death" (1917). In 1918, Lang's military service was curtailed due to his injuries, leading to his discharge.

However, the literary prowess he showcased during his hospital stay did not escape notice. Shortly after demobilization in August 1918, Berlin producer Erich Pommer extended a transformative offer to Lang – a full-time position as a screenwriter for the Decla film studio. The gears of Lang's directorial journey began turning in 1919 with the film "Half-Blood" (Ott 25).

Fast forward to 1926, and the 36-year-old maestro unveiled his 12th cinematic masterpiece, "Metropolis." Inspired by his wife's novel, this epic unfolded within a fictional city divided into two stark realms – the subterranean abode of toiling workers and the lavish residence of the elite. "Metropolis" etched its mark in history as the most expensive project in German silent cinema (Gunning 53), exerting a profound influence on 20th-century science fiction.

The very name "Metropolis" transcended mere nomenclature, evolving into a conceptual symbol of centrality and grandiosity. It encapsulated a colossal city-state where airplanes gracefully soared amidst towering structures. Deep within the labyrinthine catacombs, workers toiled, and machines transformed into a new pagan deity – Moloch. Lang's cinematic brush painted a vivid metaphor, Moloch's terrible jaw figuratively swallowing humanity with stark straightforwardness and expressiveness.

This was the apotheosis of expressionism – an intensified portrayal of enslaved existence, illustrating people moving in orchestrated unison, descending into a nightmarish working hell where individuality was ground into screws. Atop this social hierarchy, the privileged lived in paradisiacal luxury, exemplified by a magical garden of Eden with towering trees.

In this unique fusion of narrative and visual ingenuity, Lang not only manifested the power of expressionism but also laid the groundwork for a transformative era in science fiction cinema. His "Metropolis" stands as a testament to the indelible mark a director can leave on both cinematic history and the collective imagination of an era.

The cinematic masterpiece "Metropolis," by Fritz Lang, serves as a profound reflection of the prevailing atmosphere and sentiments in Europe, particularly in Germany, during that tumultuous era. Against the backdrop of large-scale industrial endeavors, where individuals played the role of mere "cogs" in meticulously organized technological processes, the film vividly captured the class contradictions that gripped Germany. These societal tensions fueled the ascendance of both National Socialists and Communists, marking a pivotal chapter in German history.

What makes "Metropolis" truly unique is Lang's ability not only to depict the sharp contradictions of his time through the lens of expressionism but also to glimpse into the future. The haunting imagery of doomed proletarian columns sacrificing their lives to the factory resonates eerily with the rational geometry of later death factories, such as the Nazi concentration camps. The harrowing scenes of prisoners in Mauthausen building a colossal staircase evoke chilling parallels with the dystopian landscapes of Lang's Metropolis. Moreover, the film serves as an inadvertent chronicle of Berlin's desperate moments in 1945 when leaders of the Reich decided to flood the city metro, resulting in the tragic loss of thousands of lives.

An intriguing historical note is that "Metropolis" found favor with Adolf Hitler, becoming his favorite film, and Joseph Goebbels even proposed Lang to lead German cinema (McGilligan 56). However, Lang's own convictions and the moral underpinning he embedded in the film, where reconciliation and tolerance are symbolized by an appeal to the heart, diverged from the ideology of the Nazi regime. This led Lang to flee Germany for the United States, where, despite his fame and a contract with MGM, his career didn't soar as triumphantly as in his homeland.

Lang's directorial journey, spanning more than four decades and nearly fifty films in diverse genres and countries, showcased his unparalleled talent in both silent and sound cinema. His contribution to the evolution of film noir aesthetics and the science fiction genre remains invaluable. Lang's cinematic legacy, culminating in his final film in 1960, endures as a testament to his visionary storytelling and artistic prowess. The great German filmmaker departed this world on August 2, 1976, in Los Angeles, leaving behind a legacy that continues to captivate audiences and enrich the cinematic tapestry.