So willLang's exploration of architecture.
Continuing characters andplot ideas in Lang are explored.
Both feature men who are identically clad in formal wear: thedaytime frock coats and top hats of the stockbrokers, the tuxedosworn by the members of the Pontoon Club.
There are brief pocket discussions of many ofLang's screenwriters.
The "backstage"or office area of the Stock Exchange, and the first look we seeof the Pontoon Club with its pillars and corridors, are strikinglysimilar in architecture, as well.
Similarly, the German-made (1928) will have a British hero.
He gives himpersonal encouragement, but mainly this seems designed to certifythat everything the hero does is fully approved by the patriarchythat runs society, symbolized by the Secret Service chief.
Some of Lang's Westerns alsohave natural scenes, as does (1950).
The clock also has round bells at its top,making the whole thing be one of Lang's elaborate machines, likethe mysterious office equipment used by the Master of Metropolis,or the gas pumps in .
Many of the jungle scenes in are as mournful as those in .
Fritz Lang would later try unsuccessfullyto make science fiction pictures in the 1950's in the United Sates;this is one of great "might have beens" of the cinema.
One thinks ofHaghi in , and the father in .
They recall similar examplesof good capitalism as the Dean Jagger character in , also head of a corporation building high tech; andbad capitalism, the Master of Metropolis.