- Title: Megalopolis
- IMDb: link
Francis Ford Coppola‘s Megalopolis is an unusual experience. As cinema, or as art, it certainly holds value. As coherent storytelling, however, it leaves something to be desired. Conceived by Coppola in the 70s, and obviously spurred on by recent political events, the director has been toying with the idea for decades trying to make the film a reality. Maybe he should have waited just a bit longer.
Labeled as a fable, Megalopolis takes place in a world much like our own with stronger Roman influences. In New Rome, architect Cesar Catilina (Adam Driver) hopes to use an unusual material coined Megalon to build a utopia and show the world what is possible. Fighting him, each in different ways, are Mayor Cicero (Giancarlo Esposito) stodgily set in preserving the status quo, a celebrity reporter and former flame (Aubrey Plaza) obsessed with him, and a cousin (Shia LaBeouf) jealous of Cesar’s popularity and talent as well as the respect his father (Jon Voight) shows him.
The linchpin that holds the film together is Nathalie Emmanuel as Cicero’s rebellious daughter who falls first for Cesar’s ideas and later for him. Emmanuel is terrific here and manages to hold things together even when you feel the script getting way from the director. Plaza is also quite fun as the obsessed Wow Platinum whose machinations turn angry and hurtful when her love is spurned.
This is a film you could easily cut off a half-hour or more and have it make more or less the same amount of sense. Equally possible would be to add another hour and still not have time to delve properly into all the themes and subjects introduced but never fully explored. For example, just what is Megalon? Other than being a catch-all for the script, how exactly does this miracle substance which apparently can build cities, save lives, stop time, and act as an invisibility cloak actually work? And if it’s such a miracle why does Cesar struggle so long in his attempt to craft his dream into a reality? I can easily believe the idea of Megalopolis may have come to Coppola as a fever dream, full of meaning and animus, but making that dream into coherent reality is where the film stumbles.
While incomplete, bizarre, odd, and at times even infuriating, I will say I wasn’t bored by Megalopolis. The film does achieve a level of cinematic spectacle, even if it struggles to properly make its point once it has your attention. As a theatrical experience, Coppola does provide value bolstered by a strong cast, particularly the female supporting characters who steal the show. Ultimately does it work? No, but I’ll give it points for its ambition and style.
Watch the trailer
