Film Review 'The City Below'

Among the spate of movies inspired by the ongoing financial crisis, ‘The City Below’ (German: ‘Unter dir die Stadt’) is definitely one exceptional voice. While many of those – think ‘Too big to fail’ or ‘Margin Call’ - provide us with a tension filled account of the inner workings of events that led to the crash of banks and markets in 2008 this movie is anything but a thriller. Technically it is a romance, but it is essentially a portrait of the ‘sociotop’ which is the world of the ‘one percent’, the top echelons of a global bank in Germany’s banking capital Frankfurt.

As such the movie – rather than adding to feelings of anger, rage and disgust about greedy bankers – provides us, as it were, with a clinical diagnosis of the de-humanized, de-emotionalized and fake rational world which steers our contemporary version of capitalism. We enter a world actually devoid of glamour or anything to aspire to – and the film leaves us wondering whether the working life of the ‘one percent’ after all is, if anything, worth our pity rather than our envy. The synopsis of the plot runs like this:

A man and a woman at an art exhibition share a fleeting moment of attraction, which neither can act upon. Days later, a chance second meeting leads to an innocent coffee and the two strangers - both married - toy with their unexplainable fascination for each other. Svenja is curious and finds herself in a hotel room with Roland, but she does not consummate an affair. A powerful executive at the large bank where Svenja's husband works, Roland is used to getting what he wants. He manipulates the transfer of her husband to Indonesia to replace a recently murdered bank manager. Unaware of Roland's actions, Svenja now ceases to resist...

Watching the movie I could not help being reminded of Marx’s point in ‘Das Kapital’ where he differentiates between ‘dead labor’ (as in machines and assets) and ‘living labor’ (as in human workers). Marx made the point that capitalism ultimately results in the subjugation of living labor under dead labor, the ultimate de-humanization and alienation of 'human resources' (as we are called in today's business world)  through a rationale of maximal value extraction. In his fascinating book ‘Dead Men Working’, our colleague Peter Fleming argues based on studies of call centre workers and other low skilled labor jobs, that we increasingly witness an army of all but physically dead men and women roped into the relentless pursuit of productivity and efficiency. Mind you, in today’s movie, death is quite physically part of the business: Svenja’s husband Oliver only finds out after being transferred to run the bank’s operations in Indonesia that his predecessor there had actually been brutally butchered while doing his job. ‘Necrocapitalism’ – as as onother of our colleagues, Bobby Banerjee, has coined the current system of global capitalism – though is not just hitting the disenfranchised, under skilled and exploited working masses (such as those killed South African miners in their attempt to resist exploitation and abuse this summer). ‘The city below’ shows us the life of those at the top – the ‘dead men working’ in the power houses of capitalism - and how their capacity for true human interaction, emotion, and passion has been extinguished, channeled and crowed out.

What better backdrop for exposing this than the realm of romantic endeavors? When Svenja’s husband, as she puts it, is ‘annoyingly’ friendly to her she immediately knows there must be an agenda: she smells that he ‘invests’ some niceties into their relations for a ‘return’: her putting up with him relocating for two years to Indonesia. The grammar of their relationship is the one of business relations: they had some sort of contract, ‘a deal’ that they would stay for some time in Frankfurt and we witness Oliver’s skills - brilliant but utterly dismal for a lover – to re-negotiate.