大都会 (1926)

Metropolis is a 1925 science fiction novel by the German writer Thea von Harbou. The novel was a treatment for Fritz Lang's 1927 film Metropolis, on which von Harbou and Lang collaborated in 1924.

Premise

The story is set in a technologically advanced city, which is sustained by the existence of an exploited class of labourers who live underground, far away from the gleaming surface world. Freder, the son and heir of Joh Fredersen, one of the city's founders, falls in love with Maria, a girl from the underground. Their romance takes place against the growing threat of civil war between the labourers and the armies of the founders, and the question of whether a lasting peace can be found.

Publication

The novel was serialised in the magazine Illustriertes Blatt in 1925, accompanied by stills from the upcoming film adaptation. It was published in book form in 1926 by August Scherl. An English translation was published in 1927.

Reception

Michael Joseph of The Bookman wrote about the novel: "It is a remarkable piece of work, skilfully reproducing the atmosphere one has come to associate with the most ambitious German film productions. Suggestive in many respects of the dramatic work of Karel Capek and of the earlier fantastic romances of H. G. Wells, in treatment it is an interesting example of expressionist literature. [...] Metropolis is one of the most powerful novels I have read and one which may capture a large public both in America and England if it does not prove too bewildering to the plain reader."

Film adaptation

The book was written with the intention of being adapted for film by Harbou's husband, the director Fritz Lang. Harbou collaborated with Lang on the script for the film, also titled Metropolis. Shooting began before the novel was published. The film omits certain parts of the book, especially references to the occult (of which a small hint exists in the film). Other parts of the story in the book disappeared from the film after drastic cuts made by the studio and distributors after the film's initial release. Some of these cuts have been rediscovered, while others remain lost. Also missing from the film are explications of the moral motivations for certain actions of the main characters.

Synopsis

Chapter I

Freder broods in his “work-shop” playing the organ and having visions of the heavens and of a woman he does not know. He dismisses all of his servants, including Slim, who is both servant and keeper.

“Club of the Sons” is a massive complex, featuring theaters, libraries, lecture rooms, and a stadium. Luxuriating in the Eternal Gardens, and about to seduce a young servant, they are interrupted by the entrance of a crowd of emaciated children in rags, led by Maria, whose appearance overwhelms Freder. She tells the children, and all those present, that they are all brothers, before she is led away. Freder becomes obsessed.

In his work-room, Freder speaks to a machine he is making that he would give up everything for this woman he has seen. He hears the signal for the shift change, which is activated every ten hours by his father, Joh Frederson, Master of Metropolis, positioned in the Brain-pan, high up in the New Tower of Babel. Joh Frederson activates the city through his exclusive use of the blue plate. Freder goes to see his father.

Chapter II

Joh Frederson, Master of Metropolis, stands in the Brain-pan of the New Tower of Babel, from where he communicates with all other major world capitals. Freder witnesses his father firing his first secretary over one clerical error. Freder argues for the man but Joh is unmoved. He believes a man is to be defined by his ability to work and how much he can work. Joh is disappointed that his son speaks sympathetically for the men in depths of Metropolis who are driven to exhaustion manning the machines that make the city live. Joh suggests one day there will be a replacement for man – the man-machine.

Freder goes, and Joh instructs Slim to keep constant watch over his son.

Chapter III

Freders seeks and finds his father’s first secretary, a man named Josaphat, who is riding the pater-noster (a kind of elevator) without getting off on any level. Freder joins him, and asks for his help – which Josaphat gratefully agrees to – and instructs him to go home and wait, for him or for a messenger.

Once they part, Freder descends into the depths. He goes to a man who is operating a machine, exerting himself in tedious repetition, lost in a rambling prayer to God, to the machine, and to Joh Frederson. When Freder interrupts him, the man collapses.

Freder tells the man, named Georgi (number 11811) they will change clothes, and he will take Georgi’s place at the machine. He gives further instruction to wait for him at Josaphat’s apartment. Freder begins the ten hour shift in Georgi’s dark blue linen uniform and hard shoes.

Georgi goes to the street in Freder’s fine silk clothes and soft footwear, and takes a car for hire. Georgi is overwhelmed by the magnificent sights of Metropolis, which he has always served but never experienced. He is seduced by advertisements for the night club Yoshiwara (and the tremendous amount of cash in his pockets) and decides to go there instead.

Chapter IV

The Magician’s House is the oldest house in Metropolis, with a red pentagram set into every door. The Magician vanished many years past, but the house remains cursed, and none have been able to destroy it. This is the home of Rotwang, the great inventor. Years ago he and Frederson had a falling out over Hel, who partnered with Joh and presumably died in giving birth to Freder. Rotwang keeps a bust of Hel on prominent display.

Joh visits Rotwang to ask if he understands a message Grot discovered in the possession of an injured worker. First, Rotwang reveals Futura, an artificial humanoid being. Joh had requested a man-machine, but is repulsed by the humanoid yet faceless form of Futura.