Lang’s time traveling to the dystopian future is the evergreen masterpiece that is still impenetrable, after a century later.
Lang’s time traveling to the dystopian future is the evergreen masterpiece that is still impenetrable, after a century later. Let’s work our way up to the gist or the concept of the feature starting from the details. Such rich details is something that is only seen on rare gem-like Disney animation where an entire new imaginative world is created that is much more hip and happening than ours. And in here the concept being simply a head or tail case, the details are immensely impressive. Now to write these words is one thing and to implement it on set is another. But Lang’s set pieces are equally large as its concept is.
And with huge crew, beautiful large set pieces and stunning production design, Lang gives you the time of your life. And with a head start like such from the concept, the expectations of the film increases to a whole new level, and with a layered narrative and a buoyant script, the characters keeps giving us back the reasons and material to not even spare a time to blink. Especially the second half of this symphony, that keeps you at the brisk of your emotions through exhilarating chase sequences, cut throat politics, morality conflicts, family drama and electrifying attraction towards each other. It surely is a cinema for life.
Abel as the puppeteer losing its control is a force to be reckoned with that is challenged by his son Frohlich itself. But the real game changer and heart of this cold mechanical world is Helm (she is splendid as both the evil twin and the heartwarming love interest) in command, from her looks to her body language, the entire feature is dependent on her vocab. Metropolis is an awe-inspiring civilised stable city that preaches its choirs, from the viewers to the makers itself.