According to this:
- Metropolis must be seen in a way parallel to the way that one might see opera. Opera is stylized; built into it are conventions which are understood and accepted by the viewer as part of the art form. One doesn’t expect literal real life on the opera
stage, but a conventionalized expression of themes about real life presented in the form of musical drama rich with emotion. Metropolis is made in the conventions of silent films; gestures are broad and points are made nonverbally. Metropolis emulates
the grand sweep of opera, without the arias. It is even broken into sections with musically derived names: Prelude, Interlude, Intermezzo, Furioso. Its visuals seek the effect of the theatrical spectacles of grand opera (floods, explosions, lascivious
dancing, the Tower of Babel, an auto da fe) and the original score which accompanies the film heightens the exaggerated emotions on screen.
https://culturevulture.net/film/metropolis/
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