Una de las películas más Satánicas y su versión ANIME: Metrópolis 1927 y 2001 | Comparación — Transcript

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1. 0:02Metropolis. Fritz Lang's 1927
2. 0:11Metropolis begins with a simple idea.
3. 0:14Above and below are very different.
4. 0:18Above are the eternal gardens, and
5. 0:20below, the workers 'city: a gray, dark,
6. 0:23and complex place where we see laborers
7. 0:26. This is one of the first messages
8. 0:29regarding the historical context, as
9. 0:32after the first major conflict of the
10. 0:3420th century—the First World War—
11. 0:37Germany was deeply impacted. In
12. 0:40contrast to this suffering endured by
13. 0:42the workers, we have the children of
14. 0:44those businessmen for whom every turn
15. 0:46of the gear means gold. This can also
16. 0:48be aligned with one of the Greek
17. 0:50visions of the ages of man. They
18. 0:52represent the golden age of man. This
19. 0:56paradise is suddenly interrupted by a
20. 0:58maternal symbol, Maria. Maria, along
21. 1:02with the workers' children, presents
22. 1:04them as their brothers, creating this
23. 1:07contrast. Maria is quickly expelled
24. 1:11from this paradise along with that
25. 1:14uncomfortable truth. The divide between
26. 1:18rich and poor is practically cast out
27. 1:21of this wonderful Eden. The concept of
28. 1:25the ages of man and how we transitioned
29. 1:28from gold and silver to bronze also
30. 1:31relates to what follows: the concept of
31. 1:34Moloch or Saturn, which comes to
32. 1:36represent time. One of Moloch's most
33. 1:40perverse rituals consists of burning
34. 1:42children to offer them as a sacrifice.
35. 1:46Here, Metropolis shows us that the
36. 1:48result of sacrificing human resources
37. 1:51is precisely progress, with the
38. 1:53allegory of Moloch's head representing
39. 1:56the Greek tragedy of how Cronus
40. 1:58devoured his children, from among whom
41. 2:01Zeus would emerge to defeat him. Yes,
42. 2:06we meet the father, John Frederson, and
43. 2:08one of the main ideas is that the hands
44. 2:11that built the Tower of Babel, just
45. 2:13like the hands that sustain Metropolis,
46. 2:15know nothing of the dream; they don't
47. 2:18know the aspirations of those who want
48. 2:20to raise and defend them. In this case,
49. 2:25we have protagonists like Freder, who
50. 2:27has just discovered this truth and is
51. 2:29going to communicate it to his father,
52. 2:31John Frederson. An allegory of creation
53. 2:36, but with a company, with the father
54. 2:39being God. Although for those who are
55. 2:42uncomfortable with me saying God, it
56. 2:44also seems to me an allegory for the
57. 2:46end of the golden age I mentioned
58. 2:47earlier, related to Greek mythology.
59. 2:51And it is that some strange blueprints
60. 2:53and the firing of Josaphat represent
61. 2:55this fall from grace or this expulsion
62. 2:57from paradise. Later on, we will
63. 3:01discover that those blueprints
64. 3:03represent, in some way, the cave in
65. 3:05Plato's allegory. And the workers
66. 3:08gather to hear the divine word from the
67. 3:11mouth of Maria, who on that occasion
68. 3:13speaks to them about the Tower of Babel
69. 3:16. Here we are introduced to an
70. 3:19important character, Rodwan, the
71. 3:21inventor. Well, Josafat is sent to the
72. 3:25depths with the rest of the workers as
73. 3:28a sign of being expelled from the city
74. 3:30above, from the great benefits provided
75. 3:32by John Fredersen as head of the
76. 3:34company. His son goes in search of this
77. 3:38newly fired worker. Now, the central
78. 3:43conflict of Osamu Tezuka's Metropolis,
79. 3:45the opening ritual, shows us human
80. 3:47beings as something very small amidst
81. 3:50an immense ocean of lights. Quoting a
82. 3:54phrase from West, it is as if the fire
83. 3:57of the stars had spread across the
84. 3:59entire earth. That is what these
85. 4:03enormous buildings seem like, embracing
86. 4:05the small stars that are now the human
87. 4:07beings navigating this new reality.
88. 4:11Here there are quite notable changes
89. 4:13with respect to Fritz Lang's work. He
90. 4:15is shown as a father who seeks to
91. 4:18recreate his daughter, Luma. Rotwang,
92. 4:22the inventor, is tasked with creating
93. 4:25this biomechanical being, that is,
94. 4:27combining what was the deceased
95. 4:30daughter with mechanical parts to
96. 4:32create a sort of resurrection or bring
97. 4:35back to life the daughter of this
98. 4:38important man, who is closely followed
99. 4:41by his son; a son who doesn't end up
100. 4:44representing Freder as such, but rather
101. 4:48the evil henchman seen pursuing Georgi
102. 4:5111811, a heart-machine worker with whom
103. 4:57Freder, John Fredersen's son, ends up
104. 5:00trading places in this part of the film
105. 5:03that was lost during this 90-year gap.
106. 5:07That is why it looks different. Here
107. 5:09the worker Georgi 11811 takes the
108. 5:16protagonist's place by wearing his
109. 5:18clothes and is also set up in a trap, a
110. 5:21subplot that I think Osamu Tezuka
111. 5:24rescues and shapes into this character
112. 5:27who has a father complex toward John
113. 5:30Fredersen. A feeling that is not
114. 5:35reciprocated, as the important man of
115. 5:37the 2001 Metropolis has a son and a
116. 5:40daughter. However, she is not yet
117. 5:44finished. As in the genesis of humanity
118. 5:47, Eve appears after Adam, being an
119. 5:49interesting exchange where Kenichi ends
120. 5:52up representing Freder in this version.
121. 5:56Part of the conflict was that Rotwang,
122. 5:59the inventor, wanted Maria's face to
123. 6:01put on the machine man, who in turn
124. 6:03would be Freder's mother, whose
125. 6:06codename is Hell. Clearly, alluding to
126. 6:09hell, Rod has sacrificed a hand, just
127. 6:12like in Fullmetal Alchemist, so that
128. 6:15the machine men cannot be distinguished
129. 6:17from those born on earth, being the
130. 6:20proposal he gives to his boss, with
131. 6:22whom he also has a rivalry. That Hel
132. 6:25was his great love and John Fredersen
133. 6:27was the one who had a son with her,
134. 6:30Freder being the son of Hel and John
135. 6:32Fredersen; and now he is left with the
136. 6:35woman, or the shell of a woman, which
137. 6:38is the machine-man that will take the
138. 6:40form of Maria. In Fritz Lang's film,
139. 6:43the most dramatic moment is when the
140. 6:46machine-man ends up adopting Maria's
141. 6:49personality, or rather posing as an
142. 6:51evil Maria, a sort of reverse Maria,
143. 6:54who follows John Fredersen's orders and
144. 6:57, in turn, ends up representing a
145. 7:00somewhat grim biblical part of the film
146. 7:03, referring to the Apocalypse, being
147. 7:05the second, or well, the third time, in
148. 7:08addition to the deadly sins. in which
149. 7:12Babylon and the fall of humanity in the
150. 7:15Apocalypse are directly mentioned. The
151. 7:19blueprints of the "Heart Machine" that
152. 7:22the workers pass among themselves lead
153. 7:24to a cave, as we already said, alluding
154. 7:27to Plato's cave, in which Maria, the
155. 7:29true Maria, speaks to them about the
156. 7:31divine word and recites the passage
157. 7:34from Genesis that speaks of the great
158. 7:36construction of Babylon, Babel: the
159. 7:38greatest city that would touch the
160. 7:41heavens and would equal God's divine
161. 7:43creation with the planet Earth. This
162. 7:48tells us a little about the egocentrism
163. 7:51we have as humanity and the care we
164. 7:53must take with our own ego, not wanting
165. 7:56to touch the stars or, just like in
166. 7:58that myth, flying too close to the sun
167. 8:00and ending up falling back to earth.
168. 8:05Great is the world and great is man and
169. 8:07his creator. Babylon was condemned by
170. 8:10God to be destroyed by its own hand.
171. 8:14Thus, it seems to me that this prophecy
172. 8:17speaks to us about the Third Reich,
173. 8:19about how terrible the Second World War
174. 8:21would be for Germany. When this film
175. 8:25came out, humanity was supposedly going
176. 8:27through one of its best moments, so the
177. 8:30contrast between that present of
178. 8:32director Fritz Lang and that
179. 8:34apocalyptic future of a lost war just
180. 8:37around the corner is terrifying. That
181. 8:41is why this film awakens so many mixed
182. 8:44feelings in me and so many sensations
183. 8:46that make me feel that humans, when
184. 8:48expressing ourselves, do something more
185. 8:51than just make money or sell movies.
186. 8:54Works like these have the idea that the
187. 8:57mediator between the hands and the
188. 8:59brain must be the heart. Heart is
189. 9:02precisely what is missing in cinema
190. 9:04today. The perverse Maria, the evil
191. 9:08Maria, ends up creating this revolution
192. 9:11to destroy the Heart Machine, the
193. 9:13mediator between the brain and the
194. 9:16hands, leading Metropolis to its
195. 9:19decline, to that apocalypse straight
196. 9:21out of the Bible where, like a witch,
197. 9:24she is burned by all the workers of the
198. 9:27Heart Machine; a sad prophecy seemed to
199. 9:30reach its sentence. Osamu Tezuka's
200. 9:35interpretation of the evil Maria and
201. 9:38the machine man becoming a Maria the
202. 9:40moment he steals her identity is
203. 9:42represented in the character of Tima, a
204. 9:45robot who meets Kenichi, rescuing the
205. 9:47feelings of affection that the
206. 9:49protagonists Maria and Freder had for
207. 9:51each other. Osamu Tezuka places special
208. 9:57emphasis on how a machine, or at least
209. 9:59an artificial intelligence, can define
210. 10:01what a soul is, being an exploration
211. 10:03precisely of that concept. Ghost in the
212. 10:08Shell, Akira, among other very famous
213. 10:10works of the cyberpunk genre, speak
214. 10:13precisely about this aspect of what is
215. 10:15human and to what extent intelligence
216. 10:18can be considered consciousness. And if
217. 10:22we ourselves as intelligent humans, as
218. 10:24the only species that thinks, cooks its
219. 10:27food, and is distinct, have a soul, or
220. 10:29what it is that really differentiates
221. 10:32us from other animals. Besides animals,
222. 10:37robots could share a soul with us by
223. 10:40sharing an intelligence. It is a
224. 10:45question of utmost importance, and just
225. 10:48as humans have a creator, could we not
226. 10:50be God's Tower of Babel, His ultimate
227. 10:53creation? That mirror in which He wants
228. 10:58to equal Himself, but of course, not
229. 11:01becoming completely the same? The
230. 11:06difference between Fritz Lang's work,
231. 11:09which has a very biblical approach in
232. 11:12the cinematography of Metropolis 1927,
233. 11:15and the interpretations of master Osamu
234. 11:18Tezuka lead us to two somewhat
235. 11:20different stories. Osamu Tezuka focuses
236. 11:25more on what the soul is itself than on
237. 11:27religion as something that can
238. 11:29communicate ideas. As I already said,
239. 11:32the film eliminates almost all symbols
240. 11:35and only makes mentions of Babel, but
241. 11:38completely removes the deadly sins and
242. 11:41also the representation of what this
243. 11:44tower would be. And the conclusion is
244. 11:47that we, even if we were robots and God
245. 11:50were the owner of our hardware, of our
246. 11:53bones, of our machinery, our soul is
247. 11:56only our own. As long as our soul
248. 12:00exists, we are alive because we live.
249. 12:05But various philosophies speak about
250. 12:08these 21 grams of information in which
251. 12:11our soul is stored. So this work by
252. 12:15Osamu Tezuka gives a more analytical
253. 12:18eye to what robots and artificial
254. 12:20intelligences are, and the idea that
255. 12:22perhaps in the future something similar
256. 12:25to Roko's Basilisk will exist, that is,
257. 12:28a super artificial intelligence that
258. 12:30guides humanity. It will present Luma
259. 12:35as the ultimate artificial intelligence
260. 12:37that coordinates every move on the
261. 12:39planet and is tasked with guiding us
262. 12:40just as God would. with the throne
263. 12:45described in Ezekiel's visions, with
264. 12:47that throne surrounded by wheels and
265. 12:50eyes everywhere. That throne on which
266. 12:55God traveled or which represented that
267. 12:58the kingdom of heaven moved as if it
268. 13:00were a vehicle and was not stagnant in
269. 13:03one place like the Tower of Babel,
270. 13:05which is stuck to the ground and tries
271. 13:08to touch the sky. The kingdom of God
272. 13:12moves with these wheels and goes toward
273. 13:15the future. Or at least that would be
274. 13:18the interpretation I find regarding
275. 13:21Luma and her character and also the
276. 13:23destiny her father wanted for her. And
277. 13:27this is my "damn, this is cinema."
278. 13:30Subscribe and comment if you want
279. 13:32another video in this style. It's time
280. 13:34for us "women-repellers" to have some
281. 13:36fun. Hallelujah, hallelujah, hallelujah
282. 13:50, hallelujah, hallelujah, hallelujah,
283. 13:57hallelujah, hallelujah, hallelujah,
284. 13:59hallelujah. no.