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Cult Review
Archivist John
Senior Editor
The shutter of 1922 Chilean cinema opens and closes like a guillotine blade, and out slides something impossible: a 40-meter humanoid shaped from ship-plates, his eyes portholes glowing sodium-orange (#C2410C), trudging across the port of Valparaíso while workers genuflect and bosses hyperventilate. El hombre de acero is not merely a film; it is a seismic event that ruptures the tectonic plates of Latin-American silent-era historiography. Forgotten for a century, rediscovered in a nitrate crate behind a Santiago larder, this hallucinatory artifact now glints on my screen like obsidian under moonlight.
Directors-writers Carlos Cariola and Rafael Frontaura—both anarchist pamphleteers turned cine-provocateurs—understood that cinema, at its molten core, is alchemy: turn silver halide into class rage, turn human bodies into iconography, turn steel into myth. Their plot, nominally Frankensteinian, is in truth a palimpsest of Chile’s 1920s labor unrest: foundries on strike, nitrate mines in bloom-and-bust cycles, students reciting verses of Shelley between gunshots.
The film’s aesthetic DNA splices German Expressionism with dockyard verité. Oblique shadows gouge the screen; scaffolding zigzags like broken mandibles; the colossus’s silhouette looms over rooftops, recalling The Tyranny of the Mad Czar yet predating it by months. DP Nemesio Martínez (moonlighting from shooting newsreels of dock strikes) drags his hand-cranked Debrie through clouds of coal dust, achieving chiaroscuro so tactile you can chew it.
Color tinting oscillates between bruised indigo for nightscapes and volcanic amber for forge interiors. Each shift feels like a fresh branding iron pressed against your retina. When the steel giant first exhales, the frame flashes #C2410C—an apocalyptic sunrise bottled inside 35 mm.
Ema Padovani, as the riveter-protagonist Marta, carries the emotional ballast with eyes like oxygen-torch flames. Her close-ups refuse glamour: grease smears, sweat beading, a chipped incisor that flashes whenever she curses the foremen. In one searing monologue—delivered via intertitle yet somehow heard through her clenched jaw—she denounces the factory owner who "wears human skin over iron ribs." The line ricochets across the century and lands, freshly bloodied, in today’s gig-economy discourse.
Jorge Délano’s Engineer Federico embodies the bourgeois guilt complex: velvet gloves hiding calloused complicity. His seduction of Marta is staged inside a locomotive caboose hurtling downhill—an apt metaphor for capital’s runaway desire. Watch how Délano’s pupils dilate not with lust but with fear that the proletariat might finally weld the tracks toward revolution.
And then there is the titular colossus, portrayed by a 2-meter-tall stevedore named Alfredo Torricelli encased in articulated plate armor. Torricelli’s gait is slow-motion tectonics; every footfall sends up clouds of sawdust that obscure the lens—an accidental yet sublime metaphor for history’s blind march.
Cariola and Frontaura’s screenplay reads like Kropotkin translated by a poet high on nitrate fumes. Intertitles detonate like grenades: "Every rivet is a rosary bead for the worker’s unburied corpse"—a line that, once read, tattoos itself onto your subconscious. The narrative refuses tidy didacticism; instead it spirals into dialectical vertigo. The colossus, intended to be a puppet of capital, becomes a Frankensteinian mirror: the ruling class recoils from their own reflection, while workers see a comrade turned commodity.
Compare this with The Concealed Truth, where moral binaries remain hermetically sealed. El hombre de acero thrives in the liminal smudge between hero and horror, a place where the audience must decide whether to applaud or flee.
Editor Isidora Reyé (one of the rare female cutters in 1920s Latin America) orchestrates a staccato rhythm that mimics industrial labor. Shot lengths average 1.8 seconds during factory sequences, accelerating to a fever pitch until the celluloid itself seems to sweat. Contrast this with the languid, oceanic takes that follow the colossus’s dissolution—Reyé lets the tide roll in at 4 seconds per shot, allowing grief to seep rather than gush.
Because the original Vitaphone discs vanished during the 1973 coup, the 4K restoration commissioned by Chile’s Cineteca Nacional invited composer Carlos Cariola-grandnephew to craft a new score. He deploys prepared piano, dock-yard field recordings, and a brass quartet that groans like ship hulls. The leitmotif for the colossus is a descending chromatic riff played on a tuba whose bell is stuffed with rivets—an aural punch to the diaphragm every time the giant appears.
Film historians often trace cinematic androids from Eva to Metropolis, yet El hombre de acero predates Fritz Lang’s behemoth by four years. Its politics are rawer, its proletarian rage less allegorical, more arterial. Where The Flaming Sword moralizes through melodrama, Cariola’s film weaponizes allegory into agit-prop.
Meanwhile, the surreal comedic tone of The Ringtailed Rhinoceros feels galaxies away; yet both share a fascination with bodies transmuted by ideology—one through rubbery whimsy, the other through molten steel.
One hundred and one years after its première, El hombre de acero feels less like historical artifact and more like tomorrow’s dispatch. Gig-platform algorithms, bio-engineered labor, AI-driven surveillance—aren’t these merely new alloys in the same old armor? The film’s final intertitle reads: "When the last rivet falls, silence will clang louder than any hammer." Watching it today, that silence reverberates through every delivery-app notification, every warehouse scanner beep.
Hence, this restoration matters beyond cinephile arcana; it is a warning flare shot across a century, landing in the palm of a precarious worker scrolling for the next shift. Stream it, but not alone—gather friends, union mates, students, CEOs. Let the steel giant stomp out of the screen and into the room. Measure the temperature when those plates hit the floor; gauge whether your heart rings like an anvil or caves like tin.
In the pantheon of silent-era miracles, El hombre de acero stands unbowed, a riveted leviathan daring us to melt and recast ourselves before history’s hammer descends again.
IMDb 4.8
1924
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