will replace the inefficient workers in the machine rooms. Rotwang then takes Frederson to observe one of the workers' secret meetings, which is run by Maria. She tells the workers to be patient and that their savior will come. Maria wonders whether their saviour will be Freder, who is present at the meeting. Rotwang then captures Maria and creates a robot in her exact image, in order to thwart the workers uprising. The robot Maria incites the workers to revolt prematurely. They destroy some of the machines, not realizing that this will flood the low-lying area where they live. The real Maria eventually escapes, and she and Freder help to save the workers from the flood. The workers burn Maria the robot at the stake. Freder kills Rotwang, and having witnessed the plight of the workers, Frederson has a change of heart. The film closes with the workers marching into a church towards Frederson. One of the workers joins hands with Jon. The Head (Jon) and the Hand (the workers) have been linked by the Heart (Maria). We can only assume that the future of Metropolis is secure.
             In shooting Metropolis, Lang pioneered a new technique of filming known as The "Schufftan Process". This was a revolutionary filming mechanism combining live-action and miniatures through the use of mirrors. This was essential in Metropolis as the film portrays not only massive skyscrapers, but also a vast underground network, populated by the underclass, and housing the Moloch-like factories where they work long hours for little reward. This process was extremely expensive to perform. This was all done at the UFA (Universum-Film-Aktiengesellschaft) in Berlin. At the time this was one of the most advanced film recording studios in the world. The ultra-modern Schufftan Process almost bankrupted the studio
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