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The plot of Metropolis isn't really comparable to Bioshock Infinite other than at a very superficial level. The resolution of Metropolis is novel in that it advocates a class collaborative resolution. The head and the body cannot be separated, so to speak. That was the basis for the corporatist/syndicalist ideology of Italian Fascism and the Spanish Falange.

The movie depicts a decadent and corrupt elite who rule over a virtual slave underclass of exploited workers. The story initially has all the trappings of a boilerplate Marxist parable, however it makes a crucial turn when we are introduced to Freder's prodigal son. Normally this character would be a villain. He is slothful and spoiled, and lives a life of leisure in the ivory tower world of the elite. In Metropolis however, he is redeemed by Maria and his exposure to the conditions of the working class. His redemption ultimately leads to the salvation of both the workers and his father.

The workers in Metropolis found themselves whipped into a violent frenzy by Mariabot, destroying the means of production as retribution for their plight. Their depiction in the movie is that of a mob of loutish proles, rather than heroic revolutionaries. This is in stark contrast to how workers were usually depicted at the time. Their actions place not only themselves but their families at risk. Their revolution has real, immediate, and tangible consequences. By hurting the capitalist class, they are directly hurting themselves.

The peaceful resolution between Freder and the workers implies that both of them are necessary elements of a successful society. Rather than triumphantly overthrowing the capitalist class of Metropolis, we instead see that they must collaborate together in symbiosis. The capitalist class must see the workers as much more than biological machines.