These slaves are depicted against the backdrop of the miserable life they lead which include tenement like homes; they work for over ten back-breaking hours nonstop. The star of the film, Freder, who is the son of Joh Frederson, the leader of Metropolis, is glaringly oblivious to the predicament of the workers or any element of their lives. Not until when a beautiful subterranean inhabitant known as Maria visits the Eternal Gardens, where Freder spends most of his time frolicking with numerous ladies, does he learn of their abject predicament. The group of small children who arrive along Maria from the laborers city below carry themselves with an air of sadness and despondency; they are hungry and appear absolutely wretched. In reality, their needy eyes apparently haunt Freder because it is something he has never seen amid the elite of the city who no less lead better lives (Bendel 12-14).
When Freder follows Maria back to the underground depths of the city and witnesses a grueling accident in the machine halls where the worker toil in abject misery, the groveling scene haunts him much more. This, as a result, compels him to confront his father, but eventually, it downs upon him that the man loves and firmly believes that is appropriately right for men to live the way they do. Freder thinks for a while about the plight of the workers and decides do something about it. However, he is faced with inevitable challenge. Freder must first and foremost gather more information and trace Maria as well. With the assistance of Josaphat—Fredersen’s presently fired officer manager—he goes down the depths of the city and assumes the job of one of the workers with a view to locating Maria. For the moment, Fredersen is suddenly worried about the reverberations of discontent amid the workers and his son’s abrupt interest in their predicament. Fredersen is overly determined to eliminate Maria’s influence on his son as well as the workers (Mark