KLAATU YOU (2)
January 8, 2020
One in a weekly series of enthusiastic posts, contributed by HILOBROW friends and regulars, on the topic of our favorite pre-Star Wars science fiction movies.
METROPOLIS | d. FRITZ LANG | 1927
Metropolis is an uncannily archaic film as much about itself as a set as it is about class struggle. Made of drawings, paintings, and sculptures, gestures and faces, its rendering of technology as monstrous and devouring is all the more poignant given how much this film is a work on paper. The precipitating event: Freder, son of ruling class boss Joh and deceased mother Hel who died giving birth to him glimpses the world of systematic oppression and suffering going on behind the scenes, as it were, of his pleasure garden of a life because Maria, a working class organizer, has brought a community of impoverished children up from below where the proletarians slave, to witness the rich and be witnessed by them: “Your brothers!” she says to Freder. His utopia is their dystopia. His now permanently shocked eyes stare and stare. Can the son of Hel handle the truth?
He staggers up and down between milieus, now to the heights of fashionable frippery, tyrannical power, and industrialist planning, then below to the depths of masses toiling, danger, death, and rebellions…
Parasite, Bong Joon-ho’s most recent film, is also plotted vertically. The gliding, frictionless lives of the rich are predicated upon competition, strife and pain literally “beneath them.” As above, so not below. The poor dwell in sub-basements where they are flooded, sprayed with insecticide, where they fight, plead, kill each other, where they hide and signal for help. Ease above, dis/ease below.
In Metropolis Freder (freer) wakes up. He is the mediator-figure between above and below. “Brother,” he says to a worker frenetically sweeping the arms of a clock-like disc. The worker swoons into the scion’s arms in exhaustion. Freder embraces him. He is held close and rests for a moment. Then he suddenly remembers: “The machine! Someone has to stay at the machine!” They grapple. The boss’s son says he’ll take over: “Listen to me! I want to trade lives with you.”
Parasite also involves the trading of lives, in this case, through betrayal, as one by one every member of the family of main protagonists plots to take another worker’s job. The conceit is that they assume these positions by pretending well: here class identity is a performance of roles in a script written by power, in which the rich do not know they are on a set. Their reality is an artifice. The obvious artifices of Metropolis at this historical distance enacts the fragility, malleability, and contingency of the situation, what moving out of your assigned role reveals.
On the planet Anarres in Ursula Le Guin’s The Dispossessed: An Ambivalent Utopia, composers, scientists, philosophers — they too have to do their time below, in the mines. And if professors want to do away with coal mines and coal miners want to do away with colleges, the novel posits that they should instead trade lives: miners ascend to school, and professors descend to mines. The redistribution of labor, not wealth, is the plan of Anarres. Rather than the binary of perfection above and abjection below, glossy ease and miserable disease, the filthy rich and the pure poor, The Dispossessed imagines a third space, the realization of an ambiguous synthesis, a rough equality which all labor for.
KLAATU YOU: INTRODUCTION by Josh Glenn | Matthew De Abaitua on ZARDOZ | Miranda Mellis on METROPOLIS | Rob Wringham on THE INVISIBLE MAN | Michael Grasso on THE ANDROMEDA STRAIN | Gordon Dahlquist on 2001: A SPACE ODYSSEY | Erik Davis on DARK STAR | Carlo Rotella on THE OMEGA MAN | Madeline Ashby on KISS ME DEADLY | Adam McGovern on SILENT RUNNING | Michael Lewy on THIS ISLAND EARTH | Josh Glenn on WILD IN THE STREETS | Mimi Lipson on BARBARELLA vs. SINS OF THE FLESHAPOIDS | Vanessa Berry on THE FLY | Lynn Peril on ATTACK OF THE 50 FOOT WOMAN | Peggy Nelson on SOLARIS | Adrienne Crew on LOGAN’S RUN | Ramona Lyons on THE MAN WHO FELL TO EARTH | Kio Stark on THE STEPFORD WIVES | Dan Fox on FANTASTIC PLANET | Chris Lanier on IKARIE XB-1 | Devin McKinney on IDAHO TRANSFER | Mark Kingwell on THUNDERBIRDS ARE GO | Luc Sante on THE TENTH VICTIM | William Nericcio on DEATH RACE 2000 | Rob Walker on CAPRICORN ONE | Gary Panter on ANGRY RED PLANET | David Levine on THE STEPFORD WIVES | Karinne Keithley Syers on ALPHAVILLE | Carolyn Kellogg on IT CAME FROM OUTER SPACE | Sara Ryan on ESCAPE TO WITCH MOUNTAIN | Lisa Jane Persky on PLAN 9 FROM OUTER SPACE | Adam Harrison Levy on BENEATH THE PLANET OF THE APES | Gerald Peary on CREATURE FROM THE BLACK LAGOON | Susannah Breslin on A CLOCKWORK ORANGE | Seth on WAR OF THE WORLDS | James Hannaham on GOJIRA/GODZILLA | Lydia Millet on VILLAGE OF THE DAMNED | Matthew Daniel on FANTASTIC VOYAGE | J.C. Gabel on INVASION OF THE BODY SNATCHERS | Alison Fensterstock on ROCKY HORROR PICTURE SHOW | Wayne Chambliss on THEM! and PHASE IV | Neil LaBute on 20,000 LEAGUES UNDER THE SEA | Kevin Obsatz on DEATHSPORT | Erin M. Routson on WESTWORLD | Shawn Wolfe on ROLLERBALL | Chelsey Johnson on THE BLOB | Heather Kapplow on SPACE IS THE PLACE | Marc Weidenbaum on COLOSSUS: THE FORBIN PROJECT | Katya Apekina on A BOY AND HIS DOG | Tom Roston on SLAUGHTERHOUSE-FIVE | Vicente Lozano on DAY OF THE DOLPHIN | Seth Mnookin on NUDE ON THE MOON | Anthony Miller on THE DAY THE EARTH STOOD STILL.
CARBONA YOUR ENTHUSIASM (2020): “Sex Bomb” | “Going Underground” | “Soft South Africans” | “Typical Girls” | “Human Fly” & 20 other Seventies (1974–1983) punk singles. KLAATU YOU (2020 weekly): ZARDOZ | METROPOLIS | DARK STAR | SINS OF THE FLESHAPOIDS | SOLARIS | & dozens of other pre-STAR WARS sci-fi movies. CONVOY YOUR ENTHUSIASM (2019): THE TAKING OF PELHAM ONE TWO THREE | ROLLERBALL | BLACK SUNDAY | SORCERER | STRAIGHT TIME | & 20 other Seventies (1974–1983) action movies. SERIOCOMIC (2019 weekly): LITTLE LULU | VIZ | MARSUPILAMI | ERNIE POOK’S COMEEK | HELLBOY | & dozens of other comics. TUBE YOUR ENTHUSIASM (2018): LOONEY TUNES | THREE STOOGES | THE AVENGERS | ROCKY & BULLWINKLE | THE TWILIGHT ZONE | & 20 other Fifties (1954–1963) TV shows. WOWEE ZOWEE (2018 weekly): UNISEX | UNDER THE PINK | DUMMY | AMOR PROHIBIDO | HIPS AND MAKERS | & dozens of other Nineties (1994–2003) albums. KLUTE YOUR ENTHUSIASM (2017): THE KILLERS | BANDE À PART (BAND OF OUTSIDERS) | ALPHAVILLE | HARPER | BLOW-UP | & 20 other Sixties (1964–1973) neo-noir movies. #SQUADGOALS (2017 weekly): THE WILD BUNCH | BOWIE’S BAND | THE BLOOMSBURY GROUP | THE HONG KONG CAVALIERS | VI ÄR BÄST! & dozens of other squads. GROK MY ENTHUSIASM (2016 weekly): THE THEORY AND PRACTICE OF LUNCH | WEEKEND | MILLION YEAR PICNIC | LA BARONNE EMILE D’ERLANGER | THE SURVIVAL SAMPLER | & dozens more one-off enthusiasms. QUIRK YOUR ENTHUSIASM (2016): “Tainted Love” | “Metal” | “Frankie Teardrop” | “Savoir Faire” | “Broken English” | & 20 other Seventies (1974–1983) new wave singles. CROM YOUR ENTHUSIASM (2015): DARKER THAN YOU THINK | THE SWORD IN THE STONE | OUT OF THE SILENT PLANET | THIEVES’ HOUSE | QUEEN OF THE BLACK COAST | & 20 other Thirties (1934–1943) fantasy novels. KERN YOUR ENTHUSIASM (2014): ALDINE ITALIC | DATA 70 | TORONTO SUBWAY | JOHNSTON’S “HAMLET” | TODD KLONE | & 20 other typefaces. HERC YOUR ENTHUSIASM (2013): “Spoonin’ Rap” | “Rapper’s Delight” | “Rappin’ Blow” | “The Incredible Fulk” | “The Adventures of Super Rhyme” | & 20 other Seventies (1974–1983) hip-hop songs. KIRK YOUR ENTHUSIASM (2012): Justice or vengeance? | Kirk teaches his drill thrall to kiss | “KHAAAAAN!” | “No kill I” | Kirk browbeats NOMAD | & 20 other Captain Kirk scenes. KIRB YOUR ENTHUSIASM (2011): THE ETERNALS | BLACK MAGIC | DEMON | OMAC | CAPTAIN AMERICA | & 20 other Jack Kirby panels.