No wonder Francis Ford Coppola wanted to premiere his latest film Megalopolis at the Cannes Film Festival earlier this year.
It’s just a shame that with the $120,000,000 return of the movie Megalopolis, it was made to be one of the worst movies I’ve ever seen.
And I say the most respect for the legendary, Oscar-winning auteur.
I still can’t stop thinking about it, last week.
In addition to the triumphs of The Godfather and Apocalypse Now, he also had a career like One From the Heart.
That’s what happens when you take wild swings – a surprising quality in and of itself – but Megalopolis is by far the most startling, grand and at times unknown film he made.
The buzz around Coppola’s film, the first standard production (well, as far as it gets) since 2011’s Twixt, began in March after its release in the film industry.
Reports followed that ‘bat**t’ with industry insiders predicting Coppola’s independent film would struggle to find distribution, which it has. Which is pretty ridiculous for fans of the director – but after watching it, I can understand the confusion.
It’s a feat that completely breaks with the conventions when it comes to movies, which Coppola should be applauded – and also helps point to the polarized reception Megalopolis has received. Some people like it!
But for me, the plot holes are too gaping and the message is too muddled, in a film that tries to span medicine, engineering, history, sociology, politics and sci-fi, to name but a few small concepts.
Coppola’s passion project Megalopolis has been in the works since the 1980s – and unfortunately, it shows.
Megalopolis is a Roman-inspired epic in an imagined modern America where a genius architect named Cesar Catalina (Driver) strives to build a utopian and idealistic future for New Rome while calling on the conservative mayor, Franklyn Cicero (Esposito).
And it doesn’t seem to have much of an impact on the movie, but Driver’s Cesar can stop time, as it does.
The joke makes it clear that Coppola thinks about the Roman Empire many times a day, and has for the past 40 years. This is evident in the women’s draping dresses, Driver’s haircut and Shia LaBeouf’s confusing character, who wears a classic costume when he chooses to crossdress for a big celebration – just one of the many things that are not explained correctly.
Adam Driver takes the lead role as Cesar, who is supposed to be our hero but is not sympathetic. Often hailed as a genius, his plan to develop his city is to uplift the oppressed – but his ego and curtness seem to be at odds with this.
As an actor, Driver is asked to gamely produce breakdowns, strong convulsive fits and even argue with missing parts of the face. But even in the chaotic and confusing energy of a film like Megalopolis, this bold choice doesn’t always come. A perfect example is the way he decided to punish Julia Cicero (Nathalie Emmanuel), the daughter of his rival’s party-girl, for spending time ‘in da cluuub’, as 50 Cent commented in 2003.
Emmanuel for his part holds his own in a starry ensemble piece – also featuring Laurence Fishburne, Dustin Hoffman, Jon Voight and Aubrey Plaza – offering a natural performance, despite the strange lack of character development and Julia’s sudden decision to pursue a relationship with Driver’s Cesar.
Esposito makes a worthy opponent for Driver, faithfully and almost Shakespearean in performance, lending a gravitas to Megalopolis that is not always present in Coppola’s uneven and sometimes cringey dialogue. He’s supposed to be a villain, but his humanity is more intact than Cesar Driver’s.
He also brings down the house with one underplayed brow-raising while contending with the consequences of Cesar and his daughter’s relationship.
Plaza is perhaps the most prominent in the film, as he has acquired the strange energy that runs through Megalopolis in his own career – he looks right at home as the ruthless journalist Wow Platinum (yes, really), ready to use his wiles in any way. to her best advantage.
Voight also makes quite a splash as Hamilton’s banker Crassus III, the richest man in New Rome, delivers a… powerful performance. He also played a plumb role in the most surprising scene of the movie – and that says something in Megalopolis.
As an actor, it’s totally understandable that you’d call someone like Francis Ford Coppola and just hope it’s the best. Even if not in this case, unfortunately.
However, despite everything I have found fault with, I would encourage as many people as possible to see Megalopolis.
It’s an ambitious project unlike anything I’ve seen before, which is sure to spark fierce debate.
Many have praised it and, regardless of everything else, it is a feat to be seen. Coppola says what the hell, accept the risk, and do what you want.
There’s also every chance I’ll look foolish when awards season comes around and Hollywood decides to honor Coppola, who has been a visionary.
I won’t be mad, but I doubt I’ll eat my words.
Megalopolis is out in the UK and Ireland now.
This article was originally published on May 17, 2024.
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