The meaning of this scene can be defined by the different dynamics happening in Freder's psyche. Unlike Maria, who goes from having a balanced mind to a mechanical mind, Freder goes from paying attention only to the Id, to actually rationalizing with the Id and the Ego, and realizing that his society has mistreated members of the working class. JP Tellote argues that “The sequence in which Freder takes the place of the worker, for example, shows only the horrors of being chained to a mechanism, reduced to a machine function, after first illustrating the power of seduction that helps keep the classes separate, each in his place” (Telotte 53). Later in the film, at 40:52 Freder screams in exhaustion “Father-! Father-! Ten hours will never end?!!”, finally empathizing with the difficulties that the working class must endure in the current stratification of their society, the ego and the id finally reach consensus. As with Mary, this scene of Freder is also associated with several biblical allusions. According to Rutsky, “ Freder is presented quite explicitly as a Christ figure: he descends to the worker level and takes the place of an exhausted worker, where he suffers and is "crucified" on the control dial of the "Pater Noster" machine, crying for help to his father” (Rutsky 5). In this scene Freder becomes the savior of the exhausted worker, and sacrifices his goods and riches to understand the lives of his “brothers”. Furthermore, from this moment on Freder becomes the "mediator", attempting to incite dialogue between the rulers of Metropolis and the working class. This is also a direct biblical allusion since, according to the Bible, Christ came to earth as a medium of paper...... after the movie came out the issues that Metropolis are still relevant today. While critics of the 1920s were quick to harshly criticize the film, new generations found it inspiring and even prophetic, correctly guessing the course of history. HG Wells, founder of modern science fiction and harsh critic of Lang's Metropolis, also responded to the film by creating his own version (Head 182). Whether today or eighty years ago, Fritz Lang's Metropolis resonates with audiences because of the similarities this society has to our own. Fritz Lang does not argue that technology will generate a regressive society, Lang argues that not only an unstable human mind, but also an unstable society, that is, not in contact with all parts of the psyche, the Ego, the Superego and the Ex. , they could easily be attracted by the ornaments that technology brings to society.