However, this film does contain many examples of "bad engineering,"
             itself with lofty, suspended streets and thoroughfares that appear to be
             hanging in mid-air without any form of support, and the buildings within
             the city that are tilted to one side as if defying gravity. This image is
             highly reminiscent of German Expressionism, most notably seen in films like
             The Cabinet of Dr. Caligari and Nosferatu. Another example can be found in
             the underground city, where the workers toil for endless hours with little
             recognition. One scene shows a huge machine with numerous dials that
             resembles some kind of ancient timepiece. It seems logical to assume that
             if this "Metropolis" was truly intended to reflect the future that the
             producers would have arranged to have better scientific technicians and
             advisors with greater imaginations in order to come up with more believable
             But the best example of "bad engineering" in Metropolis has to do
             with the female robot designed by Rotwang, an inventor and somewhat crazed
             scientist. This robot, endearingly called Hel, one of Rotwang's old
             girlfriends, appears to be very well put together, for it is jointed with
             movable arms and legs and has an almost human-like expression molded into
             its metallic face. When Maria, the main female protagonist in the film,
             meets up with Rotwang, he convinces her to become his "living robot,"
             whereby he connects her to "a myriad of machines and contraptions (with)
             glowing rings and lightning effects" which turns the robot into Maria, a
             living entity with an "evil, lusty chara
             ...