Metropolis Juxtaposes Of Sexuality And Love

Metropolis juxtaposes sexuality and love by comparing the differences in the actions and effects that robot Maria and Maria have on men. Maria is depicted similarly to Mother Mary, a holy figure capable of absolving the pain from the workers and preaching of reconciliation. When she fell in love with Freder, she expresses her love with gentle sensuality. Her body language when she is with Freder is smooth and graceful movements that genuinely express her love for Freder. However, the same innocent face is used by robot Maria to convey sexuality and immorality. Robot Maria’s movements during her strip tease for the men were jerky and rapid, emphasizing her intent to infect the men with desire. “Robot Maria’s sexual dance thus seems to be a part of the sermon: she illustrates the sinfulness which heralds the end of the world.” (Walker). Metropolis condemns robot Maria’s immorality and her attempts to lure the men into sexual depravity by comparing it to events that

The movies’ depictions of sexuality are centralized around the characters Lola Lola and robot Maria. "There is something supernatural about her effect on the men in Yoshiwara: her provocative dance leads to them becoming frenzied with lust" (Walker). Both characters have an ability to entice men with their sexuality and use them as a tool for doing their bidding. Robot Maria leads the men in the club into the streets to commit chaos, and Lola uses hers’ to win men’s favours. The power of sexuality in both films is effectively measured by the number of eyes glued to the women’s performances. As robot Maria speeds up her dance, the number of eyes on the screen grow in number and intensity. Similarly, the attention paid to Lola Lola on stage is much more fixated than when the other cabaret women perform. All laughter quietens down and the crowd goes silent as all their concentration focuses on