The conventional hero (Gustav Frolich) and heroine (Brigitte Helm) are employed almost as a safety net to aid in recovering the film from overstepping the zealous mark it sets itself. Their hyperbolic performances are fully attuned to the customs of silent film; over-the-top, emotionally crazed with only their facial expressions to convey feeling. At times, the narrative is wholly incomprehensible. Yet the mass of thematic symbolism, from Marxist to Modernist, is just as magnetic in the present age of sci-fi as it was when original released. Metropolis initially stuttered. Its budget was enough to fund dozens of films for the time and its lengthy, ornate idiosyncrasies didn't sit well with the critics. "Naïve" some called it. Yet it's the naivety of Lang's overbearing vision, his ignorance to restriction and refusal to confinements that make it so significant. Today, we cannot think of a production that hasn't in some vein taken note from Lang's depiction of the future and all the horrors it carries with it. Metropolis truly is a benchmark for cinematic innovation; one we've struggled to better.