w age. Yet, as with the majority of the film Lang had intended a quite different ending where "Freder and Maria were to leave the world by space-ship to another world"(idem) as if to show their reluctance that any change would take place and that the tyrannical city would continue to thrive on the basis of their slaves. "It is one thing to destroy a threat, and quite another for that threat to see the light and to reform"(Jensen) the father's transformation from his earlier position completely disregards the suggestions of infallibility already established. The actions of the workers are far more resultful than the fathers corrupt actions, which includes an absolutely pointless, seductive dance by the female robot. Yet, we still seem sympathize more with the rational father than with the simple-minded overly-emotional son.. Such meaningful messages are not why people still praise Metropolis today, "mob violence, seduction, insanity, duality of good and evil, the innocent hero, the threatening environment, the master-mind, opposing social forces, the virtues of love, and even an attempt at science-mysticism-religion" are all strewn together so forcefully that the ability to successfully portray any is lost. The main draw of Metropolis is its visual style. A balance is placed in most shots creating an equal procemium style of framing. Shapes are observed through out the film and are abundant at almost every turn. Camera movement is used in many of the shots, such as when the edge of the flood approaches the fleeing children; in another case, only a few workers at the Tower are standing in the foreground until a shift in position reveals thousands in the distance"A painter's eye for composition and staging is again revealed in Lang's direction"(Jensen), without prompting the spectacles of the injured silhouette workers marching past Freder. Also the children running down the street with the water moments behind them and the creation o...
