In essence, as the final act shows, the "head" and "hands" always need some "heart." It's not enough just to talk about a utopia or a rebellion there needs to action, education, and comprise. Metropolis criticizes the upper class' naivete, but also takes aim at egocentric underground figures who prioritize themselves over the safety of others. He's literally distracted by technology (robot Maria), and experiences temporary insanity before he recognizes the truth. When Freder emerges as a logical candidate, he initially romanticizes his work for the underground and loses focus. Maria functions not as a forceful revolutionary, but rather as someone who understands the system as a whole and recognizes that she needs the right mediator. On the flip side, the underground can't execute an efficient revolution if they're not sure what they're rebelling against. In Metropolis, the upper class' utopian concepts are flawed because they don't respect, or fully acknowledge, the heart and soul of their operation. Related: The One Problem Sci-Fi Time Travel Movies NEVER Resolve
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