Walter Benjamin's criticism is distinctively marked by an intricate weaving of religious mysticism, philosophy, and politics, with his engagement with Marxism coming relatively late in his career. This turn towards Marxism can be seen as a response to the intellectual alienation prevalent in the Weimar Republic, as well as the growing tide of anti-Semitism in Germany, which ultimately forced Benjamin into exile and contributed to his tragic end. For Benjamin, Marxism was more of a protective layer against the harsh realities of the world rather than a fundamental element of his identity, allowing him to comfortably explore disparate themes. This duality is evident in his simultaneous exploration of Brecht’s concrete theater and Kafka’s metaphysical narratives in works like “Franz Kafka—On the Tenth Anniversary of His Death.”

This balancing act between Jewishness and Marxism, mysticism and materialism, is central to Benjamin's critical oeuvre. It is particularly prominent in “The Work of Art in the Age of Mechanical Reproduction,” a piece that diverges from traditional Marxist criticism, which often concentrates on the ideological content of art. Instead, Benjamin's essay delves into the dynamic interplay between historical contexts and the formal characteristics of artworks. This approach has profoundly influenced subsequent Marxist cultural critics, including Fredric Jameson, by shifting the analytical focus towards the conditions shaping artistic expression and their reciprocal effects.

Despite its shortcomings when assessed as an art historical document—owing to its compressed and somewhat speculative nature—Benjamin's essay remains more compelling than many other works deemed successful by conventional standards. The true significance of the essay resides less in art history and more in the domain of Marxist cultural theory. Its utopian and mystical elements, far from detracting from its impact, actually enhance its potential to invigorate Marxist criticism. Benjamin envisioned art, particularly film, as a means of liberating the masses’ perceptions of social reality, a goal that mirrors the transformative ambition he sought to instill in Marxist theory itself.

As Maynard Solomon articulates, Marx exposed the "petrifaction of human relations in the 'things' of class society," while Benjamin endeavored to reveal a pathway to breaking this spell. Through his essays, Benjamin proposes a critical lens that encourages an active engagement with the cultural manifestations of historical and social forces. In doing so, he not only offered a novel perspective on art but also provided a framework for understanding how cultural analysis can contribute to societal change.