How are Characters Constructed in Metropolis?

 How the character Rotwang is portrayed and positioned to the spectator

- Narrative theory, symbolism, and themes

At Rotwang's first introduction, the spectator is positioned to view his character function as that of an antagonist. In Proppian terms, the sphere of action of the archetypal villain must include pursuit, a fight or forms of struggle with the hero, and villainy.  Despite the spectator placing the Metropolis' leader Fredersen as the villain during act 1 from his oppressive, ruthless, and authoritative behaviour, it isn't until we are shown Rotwang and Fredersen eavesdropping on Maria's preaching down in the catacombs of the need of a 'mediator' to bring unity between the social classes, that there is a switch of character functions within the narrative. This results in Fredersen displaying villainy (fulfilling his assumed archetypal function) by requesting Rotwang to 'give the man-machine the likeness of that girl' in order for the workers to have 'their belief destroyed in this woman'. Rotwang becomes more than just a sinister force within the film as his character function greatly escalates the plot, bringing downfall on all the characters in self-serving belief. He chooses to withhold that his creation of the antagonistic man-machine only remains loyal to him, so Fredersen's goal of controlling the working class through her is spitefully controlled by Rotwang, who also withholds Freder's involvement in this situation. Rotwang as the villain is heavily suggested in his introduction, which I will be analysing.

This introductory shot places Rotwang central to the frame in an MS, with his head facing downwards that accentuates his arched facial features, appearing to be in thought, which, through his clawed mechanical hand that threateningly taps, suggests that his thoughts are of menacing intent; the composition of the shot is divided with Rotwang's hand crossing into the foreground as if reaching towards the spectator, asserting a level of power within the shot as his character does within the narrative. By introducing Rotwang with this stylised hand gesture similar to Fredersen's gestural clutching motif, positions the spectator to associate that their characters are of a similar villainous function within the narrative. In addition, the mise-en-scene serves to alienate his character; his costume differs from the rest of high society as he is dressed in all black, similar to the workers, which suggest to the spectator that he also serves Fredersen, albeit through his intellect. His difference in clothing is also traditionally represented in an old-fashioned robe which strikingly contrasts to Fredersen's capitalist suit and tie. This suggests that Rotwang is alienated from Metropolis' progression and that he clings to the historical past as he clings to his personal past; his love for Fredersen's dead wife Hel, and his vengeance towards Fredersen as a result. The editing highlights his alienation further, as, before Rotwang is presented, his house is shown first, secluded away from the city among a stylised German Expressionistic landscape with strong geometric forms contrasting to Rotwang's curved pentagonal medieval dwelling. Ironically, there is a cross shape on this structure, symbolic of Christian theology, which positions the spectator to potentially expect a virtuous character, one that rejects the capitalist corruptions of Fredersen and fulfilling the core binary oppositions (Levi Strauss) within the film: old versus futurism/historic versus technological, morality versus corruption. Instead, the spectator is juxtaposed with the image of Rotwang and his unethical practices that lead to his downfall. One key theme of the film, religion, is demonstrated at Rotwang's death (which is the Ordeal stage within Campbell's Hero's journey as the villain, Rotwang, battles with the hero, Freder, in order for the plot to continue and the following reward stage to be given) as he falls off the roof of the cathedral, therefore at the hands of morality as the cathedral is responsible for presenting to the characters, and thus the spectator, the films' core religious ideas considering sin and death which Rotwang has been punished for. 

Within Rotwang's first introduction, the sound also plays a large part in constructing him as the film's Proppian villain. Unsettling drums, horns, and legato strings evoke his musical theme that alludes to a sinister purpose, with a threatening alteration in rhythm. As this cuts to Fredersen arriving in front of the curtained image of Hel who dominates the frame in a VLS - presented as this worshippable figure that justifies the two men's rivalry and links to the films themes of oppressive male figures controlling the women; even Hel in death is shielded, whose appearance is only available to Rotwang and presented to the spectator, furthering the film's presentation of female characters as excluded from any form of individualism  - Fredersen's theme emerges, first in its similarly threatening low register that communicates to the spectator feelings of authoritative severity from the low brass. As Hel's image is revealed in a glorifying shot composition, Rotwang's musical theme emerges, suggesting that Hel belongs to him and that her image is of his unethical creation; the man-machine. This sound constructs Rotwang as not just a villain but also of the archetypal mad scientist, where his performance demonstrates exaggerated gestures, his hand reaching towards Fredersen in its claw-like form that implies intense obsession and power for his revolutionary robotic creation. In addition, his facial expressions are unhinged with widened eyes, raised eyebrows, and bared teeth that manically smiles as he says: 'she is not dead...for me -she lives!'.It is here that the sound escalates, positioning the spectator to view Rotwang as 'mad', as the music swells to a high-volumed climax, matching his increasing passionate performance.