Last time we had a sort of general look at Metropolis as it relates to early  Frankenstein cinema. It's a big subject, and honestly I'm not going to cover all of it even with a supplementary essay, but I did want a closer look at two things. Firstly, religious symbolism and secondly the role of women in Fritz Lang's Metropolis and James Whale's Frankenstein and Bride of Frankenstein.

Can I get an amen?

The novel Frankenstein is fascinating in that it is full of conscious religious imagery, but contains little sign of God's actual presence. The Monster is compared frequently to both Adam and Satan. Both are creations that rebel against their creator, with the difference being that neither of them is a match for God. However, the Monster is a match for Victor Frankenstein. This is why the various attempts to make Frankenstein into a Christian parable tend to be perfunctory. A story in which a being is angry at its creator, and able to stand eye to eye with said creator is simply unprecedented in the Bible. Imagine if Job could just get tired of arguing with God and just kick him in the shins. Completely different story.

This, ultimately, is the point of not only Frankenstein, but a huge chunk of the whole science fiction genre: how do we deal with the themes and ideas invoked by religion without invoking God? ...continue reading "Metropolis – 1927 (Part 2)"

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