Metropolis - Directed by Rintaro
Futuristic cities are stirring. At least for me. I spent my youth playing various Final Fantasy games, many of which took place in otherworldly fully realized cities. Those cities were more real to me than any in real life since I spent of my early years living in rural areas of central and western Massachusetts. Taking trips to Worcester, Springfield, or even Boston ended up being slightly disappointing because even though I loved everything I saw in those places they were real. They weren’t magical places full of incredible colors and amazing creatures.
Metropolis is aptly named because it really does make sure the cityscape the story takes place in is as fully rendered as any of those futuristic cities from my youth. The unique character of Metropolis though is it appears to be what people in the 1940’s would imagine a city of the future to be. Cities have enamored me throughout my entertainment life. Los Angeles as portrayed in Bladerunner is a neon wonderland despite the film’s dark story. The Empire Strikes Back’s finale occurring in a place called Cloud City seemed tailor made for me. I think the best locations in stories whether they be movies, novels, games, etc. have a way of colonizing our minds and memories. Metropolis’ titular city joins the other film’s ranks where these cities aren’t simply locations or backdrops. You want to live in them long after the movie is over.
Metropolis of course borrows its title and many of its story beats from the 1926 Fritz Lang film though it should be noted that technically this is an adaptation of Osamu Tezuka’s 1949 manga, itself a reimagining of Lang’s film. The screenplay, written by Katsuhiro Otomo (director of maybe the greatest anime film of all time, Akira) uses Lang’s work as a springboard to tell a thoughtful, ceaselessly exciting story about a world where robots are creates and then mistrusted by humanity. The heart of the story is the young romance that blossoms between Kenichi, the nephew of a detective who drives the story forward and Tima, an android who doesn’t know what she is. The story combines elements of Steven Spielberg’s A.I. and Ridley Scott’s Blade Runner forcing Tima as well as us the audience to reckon with whether a machine is capable of love.
Much like Lang’s Metropolis the city in this film exists on several levels above and below ground. The first thing we see in the film is the Ziggurat, a complex of towers and bridges meant to act as a symbol of nation’s pride and progress when in reality it masks technology the evil Duke Red plans to use to take control of the city. Within the Ziggurat is a throne intended for Tima who we learn was created in the image of Duke Red’s deceased daughter. Tima’s sole purpose as far as the Duke is concerned is to merge with the throne allowing her to take control of every machine in Metropolis. Duke Red’s adopted son Rock despises this plan. First because it means ceding his place as the Duke’s only remaining child to playing second fiddle to Tima who Red prefers.
Rock helps drive the story toward a near cataclysmic conclusion and that’s where the medium of anime truly sings. Nothing can relay the power and terror of mass destruction like animation. Because explosions and shockwaves are drawn the same way as the characters and settings they appear that much more real when viewers are locked into the film’s world. As opposed to a live action film where special effects, however good, are often added after the fact and can be spotted a mile away. In Metropolis there are mob riots, guns, explosions, car crashes, you name it. And all of them are rendered with genuine thrill and terror. Anime differs from America’s traditional understanding of animation where the medium isn’t just intended for young audiences. The Japanese use the medium to tell VERY adult stories.
Metropolis follows many anime traditions. For one the films heroes Tima and Kenichi are children and their innocence is under constant threat from the world and people around them. They’re both drawn with huge eyes to underscore this notion. The other characters in the film are rendered intentionally different. They’re older, their faces carry more weight and cruelty. Their eyes are sinister and often hidden.
One departure the film makes from anime tropes is in its music. The majority of the film’s music is New Orleans style jazz. One sequence is set to “St. James Infirmary” and the movie’s incredible climax is accompanied by Ray Charles’ “I Can’t Stop Loving You”. It’s awe inspiring and impossible not to think of Vera Lynn singing “We’ll Meet Again” at the end of Dr. Strangelove.
Like all the best anime Metropolis’ artwork pays attention to the little things. In one scene the film’s detective consults a book for instruction. He opens it and starts to read when a page flips over. He flips it back into place. These little moments wouldn’t mean much in a live action movie but considering every action in an animated film takes thousands of drawings to accomplish it becomes clear how much care really went into making this film a reality. And this is just a single moment in a movie full of them.
Metropolis is a thoughtful, challenging adventure that covers some weighty themes. The nature of life and love, the role and rights of workers and by extension, machines, the pain of a father’s rejection, and the dangers of fascism. If you aren’t familiar with anime Metropolis is a lovely place to start. If you love anime like I do it’s just another reminder that it’s an art form as worth your time and attention as any other.
