In the beginning of Metropolis we see a vast number of individuals in multiple single-file lines, marching in unison down to “the depths”. Underground is where most of these workers would ultimately face their death due to the horrific work conditions. The first thing that comes to mind when presented with this sort of image is the Holocaust and/or people going to war. Taking into consideration that Metropolis is in fact a German expressionist film, I think it is definitely fair to assume that the rise of the Nazi regime was inevitable. In this particular Holocaust like scene there are clear cuts where it switches from one angle to another, showing the marching from multiple perspectives. The marching scene is also interrupted by the blowing of the whistle-which we learn as the film progresses, is indicative of something troublesome. Therefore it may not be considered mise-en-scène, or one long, continuous shot. The viewer must analyze, more in depth, what is occurring on screen without any formal narration. The simplicity of this scene leaves it up to each spectator to interpret–on his or her own– what Lang is attempting to portray. This is one of the several problems Bazin presents. He does not prefer the meaning of a scene to be left open for interpretation, nor does he favor the fact that the scene changes repeatedly. The darkness present and slow music in the background makes this lengthy shot even more ominous. Even the bent over, hunchback like body language of the workers is indicative of their inferiority in Metropolis. It is almost as if they are constantly bowing down to one of higher authority. I interpreted the harmonization of the workers march as purposefully representing the workers as one entity. They are not viewed as their own character because none of them possesses a distinct identity. All in all, it is remarkable how such a brief clip from this movie with not a lot of action, and no words, can be of such great meaning.