The classic science fiction movie that H.G. Wells hated: “Originality there is none”
Although the English author H.G. Wells wrote in many genres of fiction and also extended his writing to the realms of politics and social commentary, his contributions to the creative world of science fiction are perhaps what he is best known for and which led to him sometimes being considered the “father of science fiction”.
But it’s fair to say that the very nature of science fiction often makes it the perfect literary and artistic output to explore the ills and issues of a collaborative society, and Wells’ utopian works at points foresaw the rise in technology that seems to be almost symbiotic with humankind today, whilst his science fiction works explored concepts such as time travel and the existence of aliens.
Seeing as Wells’ science fiction work, including The Time Machine, The Island of Doctor Moreau, The Invisible Man and The War of the Worlds, are so well admired, we’d think that the writer would be well positioned to consider other notable efforts in the genre, whether in fiction or other mediums. With that in mind, it’s worth bringing to attention that Wells was no great fan of one of the most significant science fiction movies of all time, at least from a pioneering perspective.
Wells once reviewed Fritz Lang’s 1927 German expression science fiction silent movie Metropolis and called it “the silliest film” that he’d ever seen, claiming “it would not be possible to make one sillier.”
Via Wired, Wells wrote: “It gives in one eddying concentration almost every possible foolishness, cliché, platitude, and muddlement about mechanical progress and progress in general served up with a sauce of sentimentality that is all its own.”
Metropolis is one of the first-ever feature-length science fiction movies and takes place in a futuristic urban dystopia, focusing on the affluent son of a city’s master who tries to help the workers of the city rise up out of their lowly position in partnership with a saintly figure of the workers, Maria, and the city master, Joh Fredersen.
Upon release, Lang’s film was praised for its art direction and special effects, but the story was considered a touch naïve and cliched, which Wells also took issue with. The writer criticises Metropolis at great length, but some highlights from the review see him point out the production’s expensive cost, the film’s title, its characters and pretty much everything in between.
“Originality there is none. Independent thought, none,” he wrote. “The pity of it is that this unimaginative, incoherent, sentimentalising, and make-believe film, wastes some very fine possibilities.”
Evidently, Wells was no great fan of Metropolis and considered it “a waste of money”.
