Week 2 Blog Assignment

The scene that was the most memorable for me was the scene in which Feder sees Maria for the first time. The setting is in The Club of the Sons at the entrance to the Eternal Gardens.

Maria opens two MASSIVE doors, the size of which are easily 20ft tall, and walks out onto the patio. The depth-of-field is very large. Maria and the group of kids make up a mere 5% of the shot; the rest is a vast expanse of garden and patio in front of the camera. I think this large depth of field symbolizes how truly distant the people in the Club of Sons are from the workers underground.

The shots alternate between Feder and Maria with each shot becoming more and more zoomed in on the actors. (Would this be an example of intellectual montage? The montage suggests that Feder and Maria are looking at each other thus interested in each other?) I think it is interesting to note that Feder and Maria wear similar outfits. Maria’s outfit looks like a female version of exactly what Feder is wearing. Neither of them wear dark colors, which is different from every other actor in the film. Perhaps this similarity in dress symbolizes that Feder and Maria are meant for each other, or perhaps the light colors just represent that they are both the protagonists and the “good” guys.

They gaze longingly at each other, but then Maria and the children are forced to leave. The camera is still alternating between shots of Maria and shots of Feder. The action is centered around them. Feder holds his hands on the left side of his chest where his heart is located as he watches Maria exit.. perhaps to symbolize that he is infatuated with Maria.

This scene is, in my opinion, the most important scene in the film because it is this scene that inspires Feder to follow Maria underground and see what the workers’ city is like. This scene begins the rising action that really initiates the plot for the film.

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3 thoughts on “Week 2 Blog Assignment

  1. I also thought this scene was one of the most important ones in the movie. The people in the garden are stunned at the sight of Maria and all the ragged, poor looking children. It definitely puts a contrast to what we see in the beginning of the movie with the huge and magnificent city of Metropolis and then seeing poor children. It is an unexpected sight in Metropolis. The parallel montage between Maria and Freder shows love at first sight, and it kind of reminded me of Romeo and Juliet. Also, I think that the way Maria is dressed, with simple light clothing and little makeup symbolizes her as an angel not only from Freder’s perspective, but also for all the workers in the underground city. Freder’s body language in the scene is very dramatic. When Maria leaves he grasps his chest, as if his heart was damaged because Maria left. This shows the immediate love he has for her, even when he hadn’t spoken a word to her.

  2. Yes, I completely agree with the above commenter’s sentiment concerning the idea of “love at first sight”; I literally felt it permeating through the laptop screen, especially given the extent of Freder’s body language, the depth of his facial expressions, and his overall pleasantly-stunned reaction to Maria’s visage and doll-like features. To intensify this effect, Maria is almost surrounded with a halo-like glow, framed with blurred white edges, suggesting a heavenly/angelic disposition. In addition to being surrounded with children, this scene ultimately serves to illuminate her inherently pure nature; and as she beckons to the children, insinuated to be speaking to them softly, she gives off a very motherly, caring aura. As the above blogger wrote, the scene is very obviously centered around the action between the two characters, although they exchange no words. I agree that this scene is very important; it sets the tone for the nature of Freder’s relationship with Maria throughout the rest of the film as well as sets the stage to intensify her transformation into a clone version later on.

  3. There’s no question this is a very important scene. It sets the action in motion through Frederer’s attraction to and curiosity about Maria. I think to say this is intellectual montage is pushing it a bit far, since it doesn’t really intensify or symbolize an idea, but the use of cross-cutting definitely intensifies the meeting and illustrates its importance.

    Your point about the distance (and, indeed, disconnectedness from surroundings) conveyed by the depth of field is excellent. Great observations.

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