Archive for the ‘Metropolis (1927)’ Tag

Glorifying God VII   1 comment

Above:  The Tower of Babel, from Metropolis (1927)

A Screen Capture

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Blessed Lord, who caused all holy Scriptures to be written for our learning:

Grant us so to hear them, read, mark, learn, and inwardly digest them,

that we may embrace and ever hold fast the blessed hope of life,

which you have given us in our Savior Jesus Christ,  who lives and reigns

with you and the Holy Spirit, one God, for ever and ever.  Amen.

The Book of Common Prayer (1979), page 236

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Genesis 11:1-9 or Acts 28:16-31

Psalm 135:1-14

Revelation 6:1-17

John 9:1-41

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The gospel of Christ will always stand in judgment of the things that are happening in the political, economic, and social spheres of communities and nations.  And if this is so, then martyrdom is not as far away as we think.  The word “martyr” in Greek is the same word from which we get the word “witness.”

–Ernest Lee Stoffel, The Dragon Bound:  The Revelation Speaks to Our Time (1981), 49-50

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To be a witness to God can be risky.  The risk may or may not involve violence, injury or death.  However, even under the best of circumstances, to ignore or minimize that risk is foolish.  Risk may even come from conventionally religious people–from powerful ones, perhaps.

I detect an element of humor in John 9:1-41.  (Reading the Bible in such a way as to miss humor is far too common.)  By the time a reader arrives at the end of the story, one may imagine steam pouring out of the ears of some of the Pharisees, if this story were in the form of a Looney Tunes cartoon.  This would make for a wonderful scene in verse 27, with the healed man’s question, 

Do you want to become his disciples yourselves?

The New Jerusalem Bible (1985)

At the end of that story, the healed man found himself expelled from the synagogue.  His plight must have resonated with members of the Johannine Jewish Christian community, on the margins of their Jewish communal life.  Therefore, some Jews referred to other Jews as “the Jews.”

At the end of the Acts of the Apostles, St. Paul the Apostle lived under house arrest in Rome.  Ultimately, he did via beheading.

God may have struck down many enemies and oppressors of Israel, but many of the faithful have suffered and/or died for the faith, too.

The story of the Tower of Babel is a myth.  Anyone consulting it in search for a reliable source of linguistic origins is on a doomed mission.  That is not to say, however, that the story contains no truth.

This is a story about the folly of self-importance–collective self-importance, in this case.  Verse 5 reads:

The LORD came down to see the city and the tower that the people had built.

The New American Bible–Revised Edition (2011)

That verse conveys the insignificance of human achievements relative to God.

The desire to make a name for ourselves–collectively and individually–is a great value in many societies.  It is not, however, a value the Bible champions.  Psalm 135 reads, in part:

Hallelujah.

Praise the name of the LORD;

give praise, you servants of the LORD,

who stand in the house of the LORD,

in the courts of the house of our God.

Praise the LORD, for the LORD is good;

sing hymns to His name, for it is pleasant.

For the LORD has chosen Jacob for Himself,

Israel, as His treasured possession.

–Verses 1-4, TANAKH:  The Holy Scriptures (1985)

If we–collectively or individually–have a name that should last for generations, centuries, and millennia, God will give it to us.  That name may not persist in human memory, though.

Some of them left a name behind them, 

so that their praises are still sung.

While others have left no memory

and disappeared as though they had not existed.

They are now as though they had never been,

and so too, their children after them.

–Ecclesiasticus 44:8-9, The New Jerusalem Bible (1985)

So be it.

To seek to glorify God and to maintain divine standards of political, economic, and social justice can be dangerous.  At minimum, the risk is social marginalization and scorn.  Much of this contempt may come from conventionally devout people who should know better.  To serve God or to serve Caesar.  To glorify God or to glorify oneself?  To worship God or to worship country?  The decisions are ours to make?

KENNETH RANDOLPH TAYLOR

JANUARY 23, 2021 COMMON ERA

THE FEAST OF SAINT JOHN THE ALMSGIVER, PATRIARCH OF ALEXANDRIA

THE FEAST OF CHARLES KINGSLEY, ANGLICAN PRIEST, NOVELIST, AND HYMN WRITER

THE FEAST OF EDWARD GRUBB, ENGLISH QUAKER AUTHOR, SOCIAL REFORMER, AND HYMN WRITER

THE FEAST OF JAMES D. SMART, CANADIAN PRESBYTERIAN MINISTER AND BIBLICAL SCHOLAR

THE FEAST OF PHILLIPS BROOKS, EPISCOPAL BISHOP OF MASSACHUSETTS, AND HYMN WRITER

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Adapted from this post:

https://ordinarytimedevotions.wordpress.com/2021/01/23/devotion-for-proper-18-year-d-humes/

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Metropolis (1927)   Leave a comment

metropolis-1927-shift-change

Above:  Shift Change from Metropolis (1927)

A Screen Capture I Took

METROPOLIS (1927)

Directed by Fritz Lang

Written by Thea von Harbou

To say that Metropolis is a classic and influential film is to understate reality greatly; immediately I recognize echoes of it in the works of James Whale (Frankenstein and Bride of Frankenstein), George Lucas (Star Wars, sequels, and prequels), and Ridley Scott (Blade Runner).  Scholars of cinema can and do create long lists of influences and subsequent homages.  And to state that those who butchered the movie (even destroying cut scenes) shortly after the movie’s debut were blooming idiots is to claim the obvious as true.  Fortunately, a nearly complete restored version (finished in 2010) is available.

There are versions of the movie available for home viewing.  I have the 2001 restored version (with about 3/4 of the movie present) and the 2010 restored version (with 99% of the footage included).  Alas, two scenes are, to the best of current knowledge, beyond salvage, so intertitles summarizing them will have to suffice.  Each of these versions–the Restored Authorized Version of 2001 and the Complete Metropolis of 2010–has different and helpful special features, so I recommend owning both if one is a cinephile.  The commentary track on the 2001 version is quite informative, for example, as is the documentary included with the 2010 edition.

This is a religious blog, so I choose to leave most aspects of the movie to already extant websites (such as http://www.metropolis1927.com/ and http://www.filmsite.org/metr.html ), which cover that ground quite well as I ponder some of the movie’s spiritual connections.  A film in which a city leader rules from the New Tower of Babel (a reference to Genesis 11:1-9), people read from the Book of Revelation (with references to the Whore of Babylon from chapters 17 and 19), and the leader’s son must serve as the mediator between the head (the ruler) and the hands (the oppressed workers) calls out for theological analysis.

Thea von Harbou’s story is set in an unnamed European city in 2026.  Urban elites live in skyscraper penthouses and play in the Eternal Gardens.  Meanwhile, those who built the city and who keep it functioning live hard lives, work ten-hour shifts, and occupy subterranean homes.  Joh Fredersen, the ruthless industrialist who governs the city, considers this arrangement just; the workers are, he says,

Where they belong.

His son, Freder, is naively unaware of the plight of the “other half” until Maria, the prophet of the working class, brings some of the workers’ barefoot children, clad in rags, to the Eternal Gardens and shows them their

brothers and sisters.

The butler shoos them away, of course.  But Freder begins to search the city in search of the woman with whom he has just fallen in love.  He does find her eventually, but not before he witnesses and experiences the harsh industrial conditions.  And he begins to realize his destiny to function as the mediator who will avert the violent overthrow of his father’s regime and who will create justice for the workers.

Some characters are inexact analogs for biblical figures.

Freder Fredersen is the Christ figure.  Not only is he the mediator, but he is crucified on a clock in one scene in which he takes a worker’s place.

If Freder Fredersen is the Christ figure, his father Joh is the YHWH figure.  If one reads the Hebrew Scriptures closely, one realizes that YHWH is not always nice.  Joh does approve of the workers’ rebellion so that he can crush it, eliminate troublemakers, and rule with an even more iron fist; he is an unsympathetic character.  Meanwhile, back in the Old Testament, depictions of YHWH are sometimes unpleasant; YHWH does send plagues and pestilences upon innocent populations more than once.  (See Exodus 7:14-12:32 and 2 Samuel 24:10-17, for example.)

Above:  Rotwang shows Joh Frederson the “Machine Man”

Rotwang, the inventor and prototypical cinematic mad scientist, is the Satan figure.  He pursues his own agenda and desires to undermine Joh.  Rotwang almost succeeds.

The movie portrays inhumane industrial conditions as idolatry.  In one scene Freder witnesses an industrial accident which claims human casualties.   He imagines the machine as Moloch/Molech, the Ammonite deity mentioned in 1 Kings 11:7 and 2 Kings 23:10, and experiences a hallucination of the machine consuming willing and unwilling human sacrifices.

Alas, the film’s conclusion does seem like a too-convenient deus ex machina, one which leaves the oppressive Joh Fredersen in charge.  But perhaps he will change his ways; nobody is beyond repentance and redemption, right?

Metropolis, despite its inconsistencies, is a staggering achievement and a masterpiece, one worthy of thoughtful appreciation and analysis beyond its obvious technical excellence.  This is not a story of the violent overthrow of the dictatorial and insensitive regime. Rather, the aborted uprising is the work of Rotwang, the Satan analog, who seeks to overthrow Joh, and of Joh, who wants to use the opportunity for his own purposes, only to find that they backfire on him.  So the politics of the film are inconsistent.  One might guess, based on the early scenes, that the ending might be different:  Freder and Maria overthrow Joh, with the screenwriter’s approval.  But no!

Yet the movie is what it is.  And the theme of social justice, especially that of the economic variety, is consistent with the ethos of the Hebrew prophets.

KENNETH RANDOLPH TAYLOR

JANUARY 3, 2013 COMMON ERA

THE TENTH DAY OF CHRISTMAS

THE FEAST OF EDWARD CASWALL, ROMAN CATHOLIC PRIEST AND HYMN WRITER

THE FEAST OF EDWARD PERRONET, BRITISH METHODIST PREACHER

THE FEAST OF SAINT GENEVIEVE, PROPHET

THE FEAST OF GLADYS AYLWARD, ANGLICAN MISSIONARY TO CHINA