Berlin: Symphony of a Great City (1927) Dir. Walter Ruttmann

For a film that is silent it sure makes a lot of noise! Berlin: Symphony of a Great City (1927) is a silent black and white film that experiments with space and mass to increase or soften imaginary volume and dynamics. Props in this film are crucial. Props are the people, transport, buildings, roads and animals that depending on their level of mass or quantity make sound in the film come to life. In a sense, sound is equal to mass and space. The level of sound and volume varies according to the amount of space that is filled in each shot.

In the first ‘AKT’ (Act) of this film we are in motion with a train travelling in the direction of our destination – the great city of Berlin. Arrival in the city is quiet, grey and deserted. Workers in dark clothing appear as silhouettes or shadows, creeping around the streets and scurrying off to work in the factories as the city remains asleep.  ‘AKT II’ the city of Berlin awakens. A depth of sound is alluded to as more people with frantic agendas shuffle into the city’s centre. Imagery of a man playing a musical instrument, tram tracks clicking, bicycle wheels turning and horses trotting - the symphony of Berlin becomes alive. We imagine the sounds that we cannot hear. Imagery of a city in busy motion creates music that is noisy and loud, contrasting to imagery of a city with less action and people that sounds soft and peaceful. The difference in volume created by a mass of people is also symbolic (one suggests) for the difference in class and the cities class structure. As the majority of people who make up the working/lower class rush off to work catching trams and trains and shoving on pavements, the volume is full and energy is intense; one feels stressed and in a panic. On the other side of town where the upper class walk casually and spaciously on the side walk or otherwise have chauffers pick them up in their single seated automobile, the sound is less, the space is empty, and the mood is calm. Different space in the film adds or detracts dynamics to the sound of the city. There is a reoccurring metaphor in the film that illustrates the various classes of people according to the level of dynamics. The person shot screaming down a telephone is juxtaposed to a couple of dogs barking at each other and a monkey screaming. Between the barking and the screaming, the dynamics are loud reaching a high pitched crescendo. People are satirised as animals living in a zoo than in a city. Their behaviour is animalistic and feral without control or restraint.

Not only does movement contrast within shots of the city but the actual movement of shots, i.e. still or dolly etc, change and manipulate our viewing.  In ‘AKT III’ a wide angled oblique still shot of a main street in the city contrasts to the movement of subject matter within the frame.  We become a watchful eye looking down on a city of people who scurry in the streets like ants. There is less interaction between audiences sitting still watching from a distance at the movement in the city. Unlike in the first scene where we were moving with the train into the city, here (as the camera shot is still) we are also stagnant; watching as an audience would in an auditorium gazing at the symphony performing on stage. The streets become the symphony’s stage.

During the middle of the day the city turns into a busy frenzy as more people interact with each other.  Two men start an argument producing noise that increases in volume as more people enter the shot to watch the fight.  From this example it seems the type of imagery also affects the sounds mood. We know that as a crowd of people pile into the streets, the volume increases. And when one man walks lonely on the sidewalk the volume decreases. But what does this say about the mood? What does the mood sound like? We might imagine trumpets, drums, symbols and percussion to accompany the movement of trams and people trotting down the streets with tasks at hand, whereas a lonely beggar pleading for money might sound like a solemn solo bass clarinet.  Each scene creates a sound that colours the mood.

The problem with silent films is they leave far too much room for things to say! From what I experienced, the props in this film made the cities symphony of Berlin come to life. Without props, the imagery would remain black and white, the sound would be empty, and the mood would be emotionless.  We should appreciate the use of props in silent films that make audiences imagine. Definitely not a film for those who are used to being spoon fed!