Francis Ford Coppola’s MEGALOPOLIS Is a Strange, Enthralling, and Beautiful Mess of Ludicrous Ideas

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As a cinephile who has spent countless hours immersed in the world of film, I found “Megalopolis” to be a captivating, chaotic, and thought-provoking cinematic experience. The visual spectacle alone is worth the price of admission – Coppola’s ability to create breathtaking sequences and shots is unparalleled.

Francis Ford Coppola, the filmmaker behind the long-awaited project “Megalopolis,” has described it as a reflection of America like ancient Rome. He also refers to his tale of empire collapse as a “fable” in the movie’s introduction card. However, there are other ways he encourages viewers to perceive his film. His official YouTube account suggests that the main character, played by Adam Driver, represents Coppola himself – a grand visionary observing the slow decay of something great (you could say cinema) and determined to revive it. But just because someone invests $120 million of their own money into a film doesn’t automatically make their statements about it true. Unfortunately, “Megalopolis” doesn’t effectively convey a story about the fall of empires or offer insights on the movie industry, as its narrative is disjointed and contradictory, ultimately undercutting the themes it aims to explore.

I’m incredibly grateful that it is around. For hardly any disorderly chaos has ever been as visually stunning, compelling, intriguing, or skillfully performed as this one.

Editor’s Note: There are some overarching plot points discussed so please proceed with caution!

The story unfolds in the metropolis known as New Rome. This vibrant city combines elements of contemporary New York City with remnants of its ancient past, aesthetically and culturally. Nonetheless, it is undeniably set in present-day America. There are unmistakable allusions to controversial political figures and their efforts to undermine American democracy. Similar to many major cities throughout history, New Rome grapples with numerous challenges, such as housing shortages, food scarcity, and essential service delivery. The intriguing yet understated aspect is the stark contrast between the lavish lifestyles of a privileged few and the struggling lives of many. Inequality reigns supreme in this city, ruled by self-serving oligarchs who prioritize their own wealth over the wellbeing of the masses.

The movie showcases two influential groups, each brimming with wealth. One consists of influential politicians and their wealthy associates, who are constantly trying to manipulate the system for their benefit. This group is spearheaded by the disliked mayor, portrayed brilliantly by Giancarlo Esposito as Francis Cicero. The other powerful clique in the movie is a wealthy banking family, known for their shallow, incestuous behavior that seems reminiscent of decadent parties from ancient Rome. They are led by Hamilton Crassus III, played by Jon Voight.

In simpler terms, Driver’s Cesar is portrayed as an innovative artist striving to break free from societal constraints and usher in a utopian future, while Mayor Cicero represents the resistance to change, clinging to outdated systems, fostering self-interest, and fueling political conflict.

Contrary to popular belief, Cesar isn’t portrayed as a troubled hero in the movie; instead, he appears as just another self-indulgent rich man who struggles to keep his basest instincts in check. He fancies himself an expert on what’s best for everyone while contributing significantly to social disparity. In reality, Cesar is Crassus’ wealthy nephew, amassing power through political machinations rather than being legitimately elected into any position of authority over the city.

In a nutshell, Cicero, often portrayed negatively for being traditional, is primarily concerned with addressing people’s immediate needs like food, shelter, and housing. He isn’t intentionally malicious. His disagreement with Caesar, who prioritizes the future, arises from Cicero’s concern for present welfare. Yet, he is perceived as a danger to society. On the other hand, Caesar, who is fixated on the future, demolishes buildings without proper oversight. He’s tearing down multi-family dwellings while residents lament the loss of their homes, and he’s hailed as a virtuous figure! This portrayal seems paradoxical.

The absurdity of it is just as you might expect, and for the initial hour and a half, it seems deliberately planned. It’s almost as if Francis Ford Coppola’s comments about his movie were a strategic misdirection, similar to how it appears to be a prelude for figures like Elon Musk discussing Mars colonization while people on Earth struggle with hunger.

If the movie delved deeper into this element, it would be more effective. The deliberate oddity of the film – its manipulation of time and physics, along with numerous dreamlike scenes – greatly enhances the sense of chaos that pervades the movie. These characters are all deeply flawed individuals who can only focus on their own narrow perspectives, preventing them from seeing ways to improve their situation. This limited comprehension of reality contributes to a society teetering on the brink of anarchy.

To be clear, that’s not quite how things unfold in this movie. Instead, it seems to strongly endorse The Great Man Theory. The narrative portrays a struggle of lone genius men who are our last hope for salvation amidst humanity’s self-destructive tendencies. Frankly, I found it rather disappointing and cringeworthy. Despite director Coppola’s assertion that the film concludes on an uplifting note, by the time the end credits rolled, I couldn’t help but chuckle – it felt so preposterously optimistic in all the wrong ways. Essentially, it’s like a fantastical depiction of a utopia as depicted in the “world if” memes, but on screen.

The film fails to function as a metaphor for its own creation, yet Francis Ford Coppola portrayed Cesar as his alter ego. It’s challenging to defend this movie, considering the studios that rejected Megalopolis over the years, given what resulted from it. At its peak, it resembles an extravagant student film, both strange and difficult to articulate, let alone promote. It strongly argues against itself as a studio production that cost any more than $10-15 million to produce.

If Cesar strongly embodies the spirit of Coppola, it’s unfortunate for Francis Ford’s family that they might not enjoy a five-minute conversation with Cesar. Just to clarify, I don’t believe Cesar resembles Coppola in any way, as the latter is consistently known for his kindness and compassion, which seems lacking in his character.

Even before seeing Megalopolis, it was interesting that Coppola wanted to make a movie about “how empires fall” and “America as Rome,” but decided to name his main character Caesar, the man who ended the Roman Republic. America might be a de facto empire, but at the moment it’s still a Republic. Why do we want someone to end it? Because we deem one person “great?” Who makes that call? In the film, no one in New Rome does, and this is supposedly the best thing that ever happened to anyone? It makes no sense because it makes no sense in the movie.

Why am I so incredibly thrilled about a movie that presents politics and concepts I don’t necessarily agree with, and seems to contradict itself at every turn? Because it’s utterly mesmerizing! It’s like a train wreck transformed into an intriguing grotesque masterpiece. This is a movie of epic proportions, the kind of bold, wild, daring productions I long to see in cinemas each month.

Firstly, it’s visually stunning. Coppola creates some genuinely awe-inspiring scenes and shots. He uses symbolism, analogy, and surrealism consistently, not caring if everyone grasps the meaning immediately. At points, its messages are as straightforward as a hammer blow, but at others, it can be frustratingly challenging to decipher. Sometimes it guides you gently, while other times it pushes you off a cliff into the unknown darkness. The puzzling aspects entice me to watch it another 50 times.

Instead of just wanting to absorb every detail missed initially to later scrutinize its significance, I’m inclined to immerse myself fully in the intricacies of “Megalopolis,” as if it were the sole reading for this semester. My ultimate goal is to delve so deeply into analyzing it that I convince myself it’s a brilliant masterpiece. (In reality, it isn’t! No amount of analysis will alter that fact.) However, despite recognizing its flaws and even finding myself chuckling during act three, I remain captivated by the complexity and chaos that make up this compelling work of art.

Additionally, it boasts a stellar ensemble delivering exceptional performances. Ryan Gosling’s character, Driver, is remarkably eccentric, unsettling, yet captivating beyond belief. Nathalie Emmanuel’s Julia, the amiable daughter of Mayor Cicero who takes up work for Cesar, is delightful and remains the only endearing figure. This is no small feat given her challenging role – to make us believe Cesar is exceptional. Jon Voight and Shia LaBeouf, much to some viewers’ dismay, are both outstanding in their roles. Notably, Voight gives one of the best portrayals of a drunken character ever, while LaBeouf shines as the most reprehensible, power-hungry scion in the city.

Aubrey Plaza delivers a stellar portrayal as the business journalist, Wow Platinum. CHLOE Fineman from SNL fittingly plays Crassus’ granddaughter who appears to lack a strong moral compass and only enjoys doing things. Talia Shire makes an appearance for several scenes as Cesar’s mother, pitching at 99 mph every time. She’s truly remarkable. It’s noteworthy since her character’s presence in the movie isn’t entirely clear. However, that seems to be a recurring theme in this film – things happening for no apparent reason. Why does anything occur? Why is an unfeeling jerk who considers people’s basic needs as hindrances? It’s perplexing how Francis Ford Coppola spent so many decades contemplating this movie only to create something that contradicts the very themes he professes it embodies.

Irrespective of its quality or the questions surrounding it, Coppola’s film, Megalopolis, is more about the experience than the movie itself. It’s a visually striking, intriguing chaos that captivates and challenges you to focus on it intensely. Despite its weaknesses, as well as its strengths, it’s an artistic piece that we will be dissecting for years to come, much like the remnants of Ancient Rome.

Megalopolis ⭐ (2.5 of 5)

(Note: Megalopolis as an overall movie-watching experience is actually 4.5 stars for me.)

Mike Walsh, currently a staff writer at TopMob, is already scheduling his second watch of Megalopolis. Keep up with him on Twitter and Bluesky under the handle @burgermike. Additionally, you can find him in any list that ranks the Targaryen kings.

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2024-09-24 19:33