The NYMZA 'Metropolis'
Metropolis turns out to be a prescient vision of our times and with a NYMZA context that may not be an accident. Fritz Lang conceived, with then wife Thea Harbou, produced and directed Metropolis in Germany during the rise of the Nazi Party. I realized this morning that Lang's film is oddly a cinematic 'revelation of method' of what NYMZA and its minions are making happen in our times. I will go through each point but I recommend the reader watch the film first to absorb the full impact. Even if you've seen it already, watch it again. And especially if you are watching it for the first time, I recommend a theatrical screening. If you can't find one, watch it on the biggest screen you have at home -- and don't watch like the typical American. Put your seat directly center before the TV and turn off all the lights and watch it like you're in a theater -- and keep your damned mouth shut. Let it flow over you. Let it be all that's on your mind as you view it. Metropolis is one of those films that deserves your attention. As Anthony Bourdain once said: 'If you're not willing to peel garlic, you don't deserve to eat garlic'. After you watch the film, sit down with this blog and watch it again.
Essentially, Metropolis is the story of haves and have-nots who have fallen into misunderstanding of one another. The basic plot is a pro-union wet dream, of course, with the industrialist captain running the great city on the backs of the labor class who toil in the underground machinery that makes it all happen. Up in the city heights, the elite engage in sporting events and gaily frolic about their paradise garden, canoodling with willing (and groomed) maidens, all the while the labor class marches to work in a dark cold and ugly subterranean world where their wives toil in the plain hovels they call home and their children are tended to by their well-meaning and almost holy teacher figure, an icon of virtue. Things happen when the son of the city's great builder and manager sees the virtuous underworld teacher and the poor ragamuffin children she has sneaked to the upper world of the elite. The son falls immediately into love and must see her again, so off he goes into the underworld to find her but instead finds the truth about the horrible realm below, witnessing firsthand an industrial accident that kills many workers. He returns to the surface world and tries to tell his father, hoping to gain some sympathy for the people below, but instead finds his father suspicious of an suspected uprising among the workers. When the son sees the father coldly fire a subordinate, the younger man decides to take matters further into his own hands. He takes the identity of a worker and experiences firsthand what it's like to toil in his father's machine. This also gives the son the opportunity to learn about the suspected uprising being stirred by angry workers -- and it turns out that their spiritual leader is the iconic young woman of virtue, the girl he has fallen in love with. The son is convinced that he can be the 'mediator' messiah the workers have been told would come. Meanwhile, the father must stop the uprising before it happens and enlists the aid of his old nemesis, the brilliant mad genius Rotwang. We learn that Rotwang lost the love of his life to an affair she had with the master industrialist and his agreement to help the man who stole his woman is tainted by his desire for revenge. He will destroy Metropolis in the process. Rotwang kidnaps the young spiritual leader and transfers her likeness to a mechanical woman, his greatest creation. This artificial woman is unleashed upon the upper world of the elites and uses their vices against them to cause division, and then she is also sent to the underworld to lead the workers astray on a rampage, believing she is their once virtuous leader. Ultimately, the son comes out of the dark cloud that has him bedridden and he saves the day, intervening between the insanely rioting masses who have emerged from below to trash the city above and his father and the elites he represents. The masses see the error of their ways when they realize Rotwang has betrayed them with a false image of their beloved leader and goaded them into sabotaging the machinery resulting in a flood in the underworld that threatens the lives of their own children. The son and the young teacher save the children, of course, and in the end he brings his father and the workers together. All is well.
Naturally there is texture and nuance that only a proper viewing can convey and provide, which is why you should watch the film to truly appreciate what I'm saying here. But you should also know that Lang made this film in the context of the era, the mid-late 1920s when the Nazis were rising to power. Take into account what I have written and previously discussed elsewhere and on this blog that the Nazis were the product of NYMZA and a new perspective emerges with Metropolis. The Nazis were fascists supreme, of the socialist flavor, and when they fell in Germany many landed in the United States where it appears they became fascists of a capitalist flavor via the Military-Industrial complex. Either way works for them because they are globalists, making them first cousins of the Marxist Left, also globalists. When the workers of the Marxist Left are confronted with the masters of the Military-Industrial far right, we have the plot of Metropolis. Both sides are globalist and, via Rotwang (the pure NYMZA character of the film), they are forced to unite into one community aka one world, the globalist vision. There is no middle class in Metropolis, you will see -- just as there cannot be a true middle class in a globalist collective. A middle class is the bane of both the corporate fascist vision of the Neocon Military-Industrial complex and the Marxist Left -- and thus an enemy to NYMZA. Through this filter, we see that Metropolis is a film about how NYMZA brings its globalist vision into fruition through manipulation of its creations, the Neocon Fascist Right and the Marxist Left.
This is why I recommend two viewings of the film, the second one taking into consideration the following points that I suggest demonstrate what I'm saying:
1. The famous imagery of the workers marching to work like zombies, as the shift they are relieving is marching out in identical manner, is an excellent analogy to how Washington DC has worked for decades: One party takes over as the other party departs, one faction replacing the other faction, virtually identical in practical result.
2. The Eternal Gardens, the Stadium and the entire upper city represent the Globalist ideal of both the Left and the Neocons. These are public institutions built upon the slavery of the masses, not private interests created or maintained by interested parties invested in their success. Naturally, these places in Metropolis City can only be enjoyed by the elites because the lower class is too busy working the machinery to partake -- if they were allowed to, which they are not. A middle class would be able to enjoy such things even though they aren't elites. But true elites, globalists at heart, don't want that.
3. The Machine that the workers slavishly keep running in the underworld represents the dark demands of the NYMZA mastery of our world. The elites demand to be served and they don't care how that aim is accomplished or what it costs others. It is a beast that is never satisfied and eats those who serve it, if need be. It represents the system of the State as God. The State must be served. The Machine is also depicted as Moloch in one scene and this directly points to the dark ancient aspects of the NYMZA. When the Machine malfunctions early in the film and many workers are killed, the effect it has on The Son is akin to 9/11 and the effect it had on the American psyche (also discussed on this blog). Witnessing this Moloch event horrifies The Son and sends him headlong into his crusade to bring the classes together into one globalist union -- just as I and others argue 9/11 was designed to do.
4. Maria the virtuous young spiritual leader and teacher of the underworld children represents the liberal ideal of the socialist citizen, ever serving the needs of others, using the plight of children to shame others of whom she disapproves -- albeit in a camouflage of well-meaning altruism.
5. The Son of the city's master is the Fool who becomes the 'Mediator' aka Messiah. He represents the ideal beta male of our times, always seeking Daddy's love while defying him at the same time. He leads with emotion (his romantic love for Maria coupled with his bleeding heart) thus making him easy to manipulate. He is allowed to demonstrate alpha traits only once and I'll get back to that. This character is important also because he represents the union of the Nazi International and the Marxist Left -- he is the Neocon of the story.
6. The Father, master of the city he conceived and built, is the very image of the Nazi International proposed by Joseph Farrell: Industrialist dedicated to the vision of the State as God.
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| Rotwang |
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| Soros |
8. The Mechanical Man/Woman, Rotwang's creation, represents transhumanist ideals of singularity, another wet dream of collectivists and guys like Soros. Into this technology can be poured the mind and likeness of any desired personality. In the film, Rotwang abducts the spiritual leader Maria and steals her image to transform the Mechanical Woman into a counterfeit Maria which he uses to betray both the masses and the elite, through her allure and her lies. We find in this figure the representation of Globalist Left creations Hillary Clinton, Elizabeth Warren, Madonna, Ashley Judd, Meryl, Rosie, and any other leftist female icon you choose all combined into the lying False Goddess using the vulnerable aspects of human nature and that age-old and provocative bleating nag tactic against the masses and the elite alike. Just as Hillary Clinton had George Soros behind her, the False Goddess Maria has Rotwang behind her, both are robots manipulated by expendable minions.
9. The Son, as Fool, descends into the underworld and this results not in his enlightenment as much as it does his seduction. It is contrasted with the ascent into the elite's world of the worker whose place he takes. Just as the Son/Fool goes into the dark underground and is seduced, so is the worker who experiences the upper city seduced by the lies of the Night Club and its vices. The Night Club represents the Media Circus of showbiz, influence propaganda (called the 'news'), and the globalist visionary model of what they want the world to be. There is posturing, there is multiculturalism, there is sex, all designed to put the patrons into a headspin. Later in the story when the counterfeit Maria, False Goddess, is injected into the Night Club, she uses her sex appeal to drive the crowd mad and turn the best of friends against each other in their mad lust to please her and gain her attention. Subsequent to that, she also ventures into the underworld to masquerade as their beloved spiritual leader and then fans the flames of their discontent into a burning rage to destroy, destroy, destroy. We see this in our world today: The fools are dragged into the underground of leftist lies and distortions, while others are seduced by celebrity harpies, many driven into mindless rages. This is exactly what NYMZA wants.
10. The Flood that happens when the Machine is sabotaged can be found in the lie of Climate Crisis. Just as the flood in the film is the product of sabotaging the machine, the climate crisis is the product of tainted science, or sabotaging data, as it were. As the flood in the film motivates the Son and the true Maria to rescue the children and this calms the masses, so is the climate crisis myth used to motivate the masses through fear to come into compliance with globalist ideals.
11. The Son as Fool becomes the False Messiah of NYMZA. He is allowed to briefly break from the beta mode only to pursue and overthrow Rotwang in order to rescue the true Maria (Leftist Goddess). This suggests, to me, that Soros is as disposable to NYMZA as Rotwang was in the story of Metropolis. What clue did Lang give us that the Son's character may be a False Messiah even within his own film's context is the scene wherein the spy whom the Father hires to collect on the Son and the underground movement recites a possible motive for inserting a False Messiah: "The only thing keeping the workers in check is their expectation of getting the 'mediator' promised to them." Now many would say that the Mechanical Woman/Counterfeit Maria/Transhumanist Puppet is the 'false mediator' in the story -- but there is only ONE moment in the film in which any character performs the function of a mediator -- The final scene in which the Son brings together his Father/Master of the City/Elitist in a handshake with Grot, the foreman of the angry worker class masses of the underworld. The Mechanical Woman/Counterfeit Maria/Transhumanist Puppet always acts as agitator, never as mediator. The True Maria/Leftist Goddess never acts as a mediator in any scene, she comforts the worker class and provokes the elites by injecting the underworld children into their environment. That the Spy (who may be the only actual directly NYMZA character*) speaks the line about the expected mediator for the masses suggests an unspoken/unrevealed plot to give the masses a false messiah/false mediator -- which may not be unrevealed -- for there is the sequence in which the Son is back at home and bedridden and under the care, and control, of the Father and his doctors. The Son's 'nightmare' features the Spy character at a pulpit, preaching at him. Could this actually have been the Spy applying mind control on the Son? Could this be the opportunity the Master of the City, this elite Military-Industrialist Nazi Internationalist Father had to gain control over the Son/Fool and make him the false mediator/false messiah? Is the Neocon of our times, whom the Son/Fool represents, the mediator 'false messiah' between the Left and the Right created to bring the masses into the globalist dictates of the NYMZA?
The film Metropolis ends with all coming together (conditionally) in understanding and brotherly love. Unity is (conditionally) achieved. This represents the ideal of NYMZA globalism. We start the film with no middle class, and we end the film with no middle class. There is only the Marxist-style worker class masses coming to the table with the Nazi Internationalist (military-)industrial Master and this (here comes the condition...) only after the threat that their children would die in the flood caused at the hand of the elitist puppet (Rotwang was commissioned by the Master, remember), just as many young people today are being spun into a hellish chaotic world by the manipulations of George Soros and his operatives who are stirring up the worst of the protests.
Some may dismiss these thoughts. However, look again -- there is no one represented in this film but Marxist worker types and fascist industrialist types. Unionization is represented, the messiah is even called a 'mediator', a common unionist term, Christ as negotiator. Metropolis is about socialists, fascists, and globalists. There are no sovereign libertarian free market capitalists anywhere to be seen. That Lang was a German filmmaker making this movie in Germany in the late 1920s clearly establishes why. That neither the Marxist worker characters nor the fascist industrialist elite characters come out on top (remember, even using the Son as false mediator required the 'flood' to control the mob, suggesting a limited control) begs the question: Who then does win in the end?
The winner in this story would be the master behind it all. The character that controls both the Master of the City/Nazi Industrialist and the Marxist Worker Masses/Leftists is the Globalist whose very definition requires the factions within its own philosophical base be unified, by subterfuge and force, if need be. There is no middle class, not a single sovereign free market capitalist anywhere in Metropolis -- and nowhere in the Globalist vision of the NYMZA.
Just some stuff to think about.
-- WB Feb 2017 http://empireofthewheel.blogspot.com/
Metropolis (1927) 2010 Restoration Trailer
* Where does the Spy really come from in the story? He could very well represent an organization outside the City-State, available to the Master/Father as a contractor as needed, but not actually an employee. The Spy may be an operative of an unseen hand whom Lang never reveals but synchronicity identifies as the NYMZA.
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