CRITIQUEOfMetropolis1. List the name of the Director, 2 le.docx

CRITIQUE
Of
Metropolis
1. List the name of the Director, 2 leading actors and the names
of their characters. (10 pts)
2. Give a plot synopsis. (Name leading characters and major
action in half page)(10 pts)
3. What was the theme or underlying message? (State in one
sentence) (15 pts)
4. What symbols were used? (Discuss 3 symbols and what they
represent) (15 pts)
5.
What choices were made in the placement of the camera and
why?
(Separate each choice into an individual paragraph. Begin
with the specific scene in which it was used and what emotional
impact this choice has on the audience and their relationship to
the character or object.) (35 pts)
Give specific examples of the use of:
Long Shot:
Medium Shot:
Close-up Shot:
Low Angle:
Eye Level Angle:
High Angle:

Dolly or Crane:
7.
Critique the film using Goethe’s three questions.
(As an exercise in critical thinking the discussion of each
question should be separated into individual paragraphs and
collectively they should be at least 1 page in length. Refer back
to the Introduction Power Point for suggestions about answering
these questions. (15 pts)
What was the artist trying to do?
How well did he do it?
Was it worth doing?
This critique should be typed in size 12 font, double spaced and
no less (hopefully more) than 3 pages in length. Submit your
critique under the button on the Main Menu and attach it in an
e-mail to me in as a back-up.
[email protected]
1. The growth of the service economy has seen even traditional
product-focused companies aggressively pursuing a service
design to add value to their product offering. Explain the
differences between a product design and a service design.
Compare the product and service design processes and explain
why the two are different.
2. Materials Requirements Planning (MRP) seeks to time the
phases of orders of materials to meet the Master Production
Schedule requirements. Is MRP a push-based or pull-based

program? Why?
Compare push-based and pull-based programs within the
context of supply chain management. Also, discuss the short-
term or long-term implications, if any, of both programs.
Which of the two programs is most commonly implemented in
supply chains? Support your answer with an example.
Cite sources in APA format
,
All critiques follow this format and style however, these are the
questions for the Final Critique which is more comprehensive.
Not all of these questions are discussed in the critiques of
Metropolis and Casablanca. The critique of Star Wars concerns
the Hero’s Journey. Click “Critique Questions” on the Main
Menu to make certain which questions pertain to each film.
Student’s Name
Date
The Matrix
1.
Directors: Larry and Andy Wachowski
Keanu Reeves: Thomas Anderson/Neo
Laurence Fishburne: Morpheus
2.
Plot Synopsis:
Thomas Anderson, a computer programmer bored with his life
and job spends his nights as a nefarious hacker with the code

name Neo. He pursues the question “What is the Matrix?” His
quest leads him to Morpheus, the leader of a band of rebels who
believes that Neo is “The One” who can defeat the machines
and their Matrix to free all mankind. With his help Neo
“unplugs” and begins his journey to find his own destiny.
Reentering the Matrix with the rebels Neo meets with The
Oracle who tells him he is not The One because he seems to be
waiting for something and that he will have to choose between
saving Morpheus’ life or his own. Neo, Morpheus, Trinity (a
beautiful woman with whom Neo falls in love) and three other
rebels are betrayed to the “Agents” by one of their own, Cypher.
As a result Switch, Mouse and Apoc are killed and Morpheus is
captured. Neo chooses to rescue Morpheus even though he will
probably die. He believes that his human unpredictability will
give him an edge. Neo and Trinity accomplish the impossible in
the computer generated world of the Matrix and do rescue
Morpheus. During the rescue Neo realizes that he no longer
waiting for something as the Oracle predicted and that he is The
One. As Morpheus tells him, “There’s difference between
knowing the path and walking the path.” With his new found
confidence Neo fights Agent Smith who shoots him in the chest.
Neo believes he is dying but somewhere between the Real
World and the Matrix he hears Trinity’s words of love and
chooses to live. When he rises in the hallway of the Matrix
where he transcends death he sees the Matrix for what it is,
defeats Agent Smith and fulfills his destiny to become “The
One.”
3.
Theme:
Create the path of your own destiny and have the courage to
walk it.
4.
Visual Elements:

Scenery
A basic premise of the film is not to trust what others tell you is
the truth of your reality, therefore the traditional choices made
for good and evil are presented in opposition. Inside the Matrix
the city looks like a regular American city. There are many
long verticals lines to establish the power of the Matrix in the
upward thrust of the buildings. The spaces around and within
the buildings are large making the humans appear small. There
are both warm and cool colors with an emphasis on blue used in
decoration while the buildings are neutral. The street scenes are
busy in line, texture, color and movement. It is a city apparently
full of life and while the city in The Matrix appears to be lived
in, older it is not dangerous, dark or ominous.
The “Real World” however, represented by the rebel ship, the
Nebuchadnezzar is dangerous, dark and ominous. There are no
natural materials. It is all metal, cold and angular. The spaces
are small forcing the humans to move in close proximity to each
other. The living quarters are cramped with single metal cots
covered with thin blankets and no padding. There are no
comforts or individual touches like pictures or memorabilia.
The truth of the Real World is a stark existence to contrast the
lie of the Matrix.
Costumes
The two costumes worn by Neo are an example of recognizing
the truth without being blinded by the illusion of a lie. After his
rescue when Neo returns to the Matrix he dresses as he wishes
or as he sees himself. He wears black from head to toe, not the
traditional color of a hero but certainly acceptable as an
antihero (he is in conflict with the established authority). He is
one long, strong line from shoulders to the ground. His boots
are thick and strong grounding him and giving him a forceful
step. His leather coat is open to reveal his well toned body and
although it is covered completely the t-shirt and leather pants

are tight and form fitting. He wears opaque dark glasses that
hide the truth behind his eyes and his hair is black and full. He
is a strong, masculine force to be reckoned with.
In the “Real World” his clothes are torn, ratty and old. They
look like patched hand-me downs. They are cool colors, not
black. He is bald or his hair is close cropped not thick and
luxurious as in the Matrix. He has cuts and scratches as well as
a sickly pallor partially from his years in the Matrix and
partially from the fluorescent blue of the lighting. His arms,
spine and neck are also lined with metal holes, reminders his
connections in the bio pods of the Matrix. He and all the
humans look weak and vulnerable.
Lighting
Again, in contrast to the reality of darkness under the nuclear
fallout the city in the lie of the Matrix is lit with warm sunlight.
Only a few scenes take place at night and usually involve
colorful artificial light. There are not prominent shadows for the
characters to hide within. Nothing appears to be hidden from
the Matrix. Whenever the Agents are in the scene the lighting is
either bright or at least visibility is clear. However when Neo is
in the Matrix and is faced with a choice on his life path like
whether to follow the white rabbit, get in the car with Trinity or
whether to take the red pill the scenes take place at night with a
single light source and often in the rain further obscuring the
clarity of vision.
The “Real World” aboard the ship is either dark or lit with weak
fluorescent blue light. It is a cold, unflattering light. The ship
is filled with shadows and the constant hum of the artificial
lighting. The people, the clothing, their surroundings appear flat
and lifeless when the opposite is the truth. The morning after
Morpheus tells Neo that he believes Neo is The One a single

fluorescent light flickers on to reveal Neo is sitting alone in
darkness contemplating his future.
Props
The props in both the Matrix and the Real World appear to be
realistic objects. In the Matrix the technological devices like
cellular telephones and computers are state of the art (for 1999).
The Agents however do not use them. They have earplugs that
connect them directly to the main frame and consequently to the
thoughts of every human being in the Matrix.
The props in the Real World look used and old. The technology
aboard the ship appears to be cobbled together of disparate
machines. The humans make do with what they have. Tank’s
console for example is composed of several computer monitors
attached precariously above a keyboard attached to a swivel
chair. The humans use their brains and their ingenuity to make
the best life possible for themselves.
5.
Symbols: (Only 1 is required for the Final Critique but here are
several as examples)
Neo is a Christ figure, the savior of mankind. He is unknown
until his early thirties although he has always questioned and
excelled at those areas that matter most to him. He is humble,
loyal to those around him, willing to sacrifice himself for what
he believes in and ultimately defeats the evil that man has
created out of his own pride and arrogance.
The rebel ship is named the Nebuchadnezzar. It’s the name of
an ancient Babylonian king which means “protects the eldest

son”. The ship is the only protection the fragile humans have in
the dangerous toxic environment of the machines. Neo as “The
One” would be the eldest son.
“Morpheus” was the Greek god of dreams. He could change
shape or create dreams for mortals to find their true path.
Morpheus of this film dreams of freedom for humanity and
wakes Neo from his long sleep within the Matrix and becomes
his mentor educating, protecting, pushing Neo to realize his
own dream.
6.
Camera choices:
Long Shot
Long shots were used to establish the well populated city in the
Matrix. We were seldom allowed to become acquainted with
people in the city. When the camera moved closer to the
grandmother in the kitchen or the homeless man in the subway
it was to surprise us with their transformation into an Agent.
Like the workers in Fritz Lang’s Metropolis the population of
The Matrix is a means to an end and we are kept emotionally
distant from them.
Medium Shot
Most shots involving the crew of the Nebuchadnezzar were
Medium shots. The audience was encouraged to develop a
relationship with each of them and the close proximity of the
ship seldom allowed for extensive long shots. The morning Neo
meets everyone in the mess hall to eat breakfast is a series of
medium shots to make us feel welcome but not intrusive – much
as Neo felt.

Close-up
Close-ups were used often for Morpheus, Trinity and Neo.
These were the three characters driving the film and it is
necessary for the audience to care for them. Although beautiful
Carrie Ann Moss as Trinity was often shot close up this was
Neo’s film. We question his world and discover the new one
through his eyes. After he chooses to take the red pill the
camera closes on him for us to experience his transformation
through the looking glass much like Alice.
Low Angle
A Low Angle is used to give a character power. When Neo
rescues Trinity from the helicopter there is a jump cut from an
over shoulder high angle (making Neo vulnerable) as he
watches the helicopter crash into the building to an eye level
shot on the Nebuchadnezzar of Tank whispering in awe, “I knew
it, he’s the one” jumping back to a low angle of Neo powerfully
pulling Trinity out of harm’s way. The low angle reinforces
Neo’s strength and establishes his power as the One.
Medium Angle
When Morpheus is being interrogated by Agent Smith the “just
below the eye line” angle brings us into the conversation. It is
shot mostly in a two shot with both characters in frame
preventing us from identifying too completely with Agent Smith
since we are constantly aware of the representative of humanity,
Morpheus’ suffering.
High Angle

A high angle is used when showing the city and the busy people
moving through the streets. This angle not only makes them
look small, weak and vulnerable but the size of the buildings
relative to them makes them appear like ants in an anthill.
Dolly or Crane
There’s a constant use of a horizontal dolly or a
vertical/diagonal crane shots throughout the film. The Directors
wanted the audience to feel what the characters feel as they
“magically” move through The Matrix. The audience “runs”
with Neo across the rooftop or walks briskly through the ship
and when the realities of dolly tracks or crane extensions
proved limiting visual effects guru John Gaeta created “bullet
time”. This is accomplished with a circular green screen
perforated with close to 100 cameras both shooting both still
and moving images. This allowed the action within the shot to
appear to stop or move in slow motion while the camera point of
view (usually done with a dolly) moved at normal speed. This
technique was invented for this film and created a movement
unique to the Matrix universe.
Sound Effects
7.
Sound effects establish a variety of actions and events both in
the real world and in the Matrix. The audience hears an
electronic buzzing when an Agent takes over a human in the
Matrix. This sound effect is used often enough that eventually
the audience doesn’t need to see the transformation. As Neo
runs through a kitchen at the end of the film chased by the three
agents he sees a gray-haired woman holding a butcher knife by
the stove. The camera cuts back to Neo opening the back door
and we hear the buzzing transformation sound effect as the
knife embeds in the doorframe by his head, immediately the

camera cuts back to Agent Smith standing where the gray-haired
woman had been his hand poised in mid toss of the knife and
because of the sound effect the audience knows without seeing
it that Smith transformed the woman. Many of the sound effects
are directly related to sounds common to 1999: the “ringing” of
the land line telephones, the clicking of the keys of the data
machines and the dial-up sounds of phones connecting to the
internet are some examples.
Music
Music plays an important role in creating tension. When a scene
takes place in the Matrix the music is often electronic whereas
in the real world generally real world instruments are used.
Music plays a pivotal role in the final battle between Neo and
Agent Smith. As Neo runs down the hall a combination of horns
and the rhythmic drumming of metal pipes pound beneath the
persistent high pitched ringing of a phone creating anticipation.
The staccato tremolo of the violins increases the tension until
Neo opens the door. The music stops abruptly in a moment of
contrasting silence as a gun fires. It echoes and the spent casing
tinkles gently on the concrete floor. The violins begin their
tremolo again in a lower pitch and are joined by horns as Agent
Smith empties his clip into Neo’s chest. The music holds these
dangerous tones until Neo slumps down the wall dying in the
Matrix and exhales as he apparently dies in the real world. But,
the deaths lack a sense of finality because the music continues
gently. After Neo rises, stops the bullets fired by the agents and
“sees” the green running lines of the Matrix the music attains a
lofty, spiritual air with the addition of human voices to the
music that is reminiscent of Also Sprach Zarathustra from 2001:
A Space Odyssey reinforcing humanities triumph over the
machines.
Editing
As an action, Scifi film the editing of The Matrix is generally
quick into, out of and within scenes following Neo’s emotional

state. Often sound effects are used to transition between scenes.
At the start of the film Neo meets Trinity at a club. The
electronic music is loud and Trinity leans close to Neo’s ear and
whispers, “the answer is out there, Neo, it’s looking for you and
it will find you if you want it to”. Trinity leaves Neo intrigued
as the volume of the electronic music increases underscored by
the introduction of a new pounding sound. Suddenly the music
stops but the pounding continues transforming into the alarm of
a digital clock at the start of the next scene. Neo overslept and
is now late for work. The next scene exemplifies how the pace
of the editing allows us to experience what Neo does. Neo sits
in his bland, boring cubicle as a courier delivers a cell phone
which immediately rings. From this point on the length of the
camera shots shorten and the pace of the scene quickens. The
editing cuts between a high angle, long shot making Neo look
weak and an eye level, medium shot which allows us to feel his
vulnerability in this dilemma. As Morpheus leads Neo away
from the Agents the length of the takes become shorter until he
reaches the safety of the office at the end of the hall. We see
him enter and lock the door in an extreme high angle (again
vulnerable) cutting to an eye level (we’re in this with him)
where it remains for the rest of the scene. The camera pans and
moves with Neo as he listens to Morpheus on the phone and
chooses what to do. There is only one cut in the entire scene.
Because of the editing we are allowed time to breath and think
with Neo.
8.
What was the Artist trying to do?
The Wachowski Brothers presented their view of a possible
future dystopia using a science fiction action adventure and
kung fu fighting film. By pitting the comfort and ease offered
by a life run by machines versus the dirt and danger of reveling
in our humanity The Matrix asks questions that our society must
contemplate as we rely more and more on machines. The film

suggests that we create the path of our own destiny and have the
courage to walk it
How well did they do it?
Exceptionally well. It dealt with issues facing society today,
issues about technology and its place in our lives. The film
itself moved special effects forward creating “Bullet time”. The
Wachowskis created two worlds of equal validity. The world of
the Matrix looks frighteningly like our own but the sparsity and
coldness of their “real world” is not inviting. They created the
visual representation of what a digital world would look like.
What would our computer see looking at our world.
Was it worth doing?
Absolutely. The Wachowski Brothers managed to create an
entertaining adventure film that asks fundamental questions not
only about society but about man’s perception of reality. They
attacked the philosopher’s question, “If you could live in a
magic box that fully realizes a life for you, a life that is
potentially satisfying and fulfilling would you choose to live
there? And which is life is reality?” Those living in the Matrix
did not choose to live there, but if that reality is all they have
ever known is it any less a reality? I enjoy films that pose
questions and in this case answer them. The script kept me
intrigued and posed philosophical questions that I pondered for
days, even years later. The leading actors created characters that
I found interesting enough to watch in two sequels and the
design and technology created new worlds that other films have
imitated for decades.

Metropolis Critique
For many of you this may be the first time to watch a
silent film. Keep an open mind.
Metropolis was made in a different time, a different
culture and different language.
However, Fritz Lang manages to tell us his story without
the benefit of the spoken word.
There are dialogue cards and the music is original score
writing for the Berlin Premiere.
*
Metropolis Critique
This critique requires deeper thought than the obvious but,
you will find that when each part of each question is answered
thoroughly it will guide you to an in-depth study.
This critique is not difficult but it can be lengthy. I do not
suggest waiting until the evening before it is due. Staying up all
night to finish a paper leads to sloppy and often incomplete
work.
*
Metropolis Critique
1) If you want to check correct spelling of the names I
recommend going on-line to imdb.com. Remember that you

must include two actors and their roles, as well as the director.
2) Summarize what happens in the plot in less than a page but
more than a short paragraph. Include the major plot points with
character names.
*
Metropolis Critique
3) Theme is stated in one sentence not a paragraph. For example
the theme of The Matrix is “Create the path of your own destiny
and have the courage to walk it”. This is what the principal
character learns and what the story revolves around. A theme is
not “it’s the story of a man and his fight with the computer
world that controls him. This is plot not theme. ( In Metropolis
Fritz Lang states the theme in several dialogue cards. Usually
there’s not a right or wrong answer to theme but, in this film
there is.)
*
Metropolis Critique
4) There are many symbols used in Metropolis physical,
ideological and religious. Make certain to describe what it is
and what it symbolizes.
5) List each of the shot length and camera angles separately and
discuss where in the film Lang used each and why he chose

them. Refer back to the Vocabulary power point to help with
“why”.
*
Metropolis Critique
6) In the final question state in a concise sentence what goal do
you think Lang was trying to accomplish with Metropolis (this
will be related to theme.) With examples to support your
opinion, how well do you think he accomplished that goal? And
finally your personal opinion of whether or not that was a
worthwhile goal and why you believe it.
*
Viewing Metropolis
When watching Metropolis be aware of the closeness of
“personal space” – Freder invades everyone’s personal space.
Lang reinforces this theme with specific Character Action
(what actions the characters do), Camera Angles and Shot
Length.
*

Viewing Metropolis
Observe the use of Camera Angles to establish character
relationships and personality:
– who is shot with a slightly lower angle to make them appear
strong (where, why and how)
– who is shot at eye level to make us identify with them (where,
why and how)
– who is shot from above to make them appear weak or
vulnerable (where, why and how)
*
Viewing Metropolis
Observe the use of Shot Length to establish audience
involvement with character(s)
– who/what is shot with a long shot to keep the audience from
identifying with an individual (where, why and how)
– who/what is shot at a medium length to bring us into the
action (where, why and how)
– and who/what is shot in a close-up to make us identify with
them (where, why and how)
*

CRITIQUEOfMetropolis1. List the name of the Director, 2 le.docx

CRITIQUEOfMetropolis1. List the name of the Director, 2 le.docx

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