Another Marx & Engels monstrosity, immense sets and astounding images of a soaring, thrilling, and terrifying industrial city; the triumph of man, though like the Tower of Babel, and it crumbles under the burning steam of Moloch on the hunched-back eyes downward workers who live underground. Freder, the son of the master of Metropolis, falls in love with Maria, a peaceful Moses of the downtrodden workers who preaches the film’s epigram, that the head and hands must be mediated by the heart, and they are only waiting for a mediator. But an automaton, the machine man, forged by Joh Frederberg’s mad scientist Rowtrop to bring back a memory of the Industrialist’s dead wife Hel, whom Rowtrop loved, takes the form of Maria. This evil, erotic clone dances with pasties, leading the workers to revolt. When in their frenzy they destroy the heart machine, which powers all of Metropolis, including the pumps which keep the worker’s city from flooding, Freder, Jahstrap(his stalwart, formerly under Joh’s employment), and the good Maria save the children from the rapidly encroaching water. So there is reconciliation in the end, and it is a deluge that washes away the two sides’ sins.