e point is speaking kindly to her. Even once she is free he tells her "If the mob sees you they will kill me for having tricked them" An unselfish comment it seems, yet, Maria runs from him and he then begins to chase her ending with the battle with Freder on the Church roof. These such problems will always occur when re-editing ensues "but the novel reveals how the re-editing eliminated Rotwang's motivation and destroyed the picture's continuity"(Jensen).The major tracking shot occurs when we follow Maria through the catacombs, as Rotwang forces her on with his flashlight.The religious aspect of Metropolis is a very apparent one. For instance: "Freder, the only son of Joh (Jehovah), is destined to redeem the common people and unite the divided world. Maria (Mary) combines the function of prophet, predicting the arrival of the messiah-mediator, with elements of both the Virgin Mary (who "creates" him) and the prostitute one"(Jensen) Freder also refers to everyone else as his brother, and wishes to suffer with them. Which he does and while working calls to his father Laboring with extended arms at the clock-machine, he prays to his Father for salvation "he has taken upon himself the weight of suffering imposed on the workers, as well as the guilt of the rulers who impose it"(Jensen).For all of its extraordinary visuals and harsh depictions of capitalism the conclusion of Metropolis is somewhat lacking of any standout originality The defeat of an Unconquerable Menace is a conventional technique in storytelling that gives the audience a sense of upliftedness. The ending of Metropolis has the viewer taken completely unprepared and in such leaves them confused. "There is a superficial reconciliation between capital and labor"(Eisner) which brings together a soft hearted conclusion that is not constant with the rest of the films feeling or character. Freder takes his father's hand and puts it into the foreman's showing the dawn of a ne...
