Megalopolis (2024)
Director: Francis Ford Coppola
Starring: Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Shia LaBeouf
Primary genre: Epic
Secondary genre: Science Fiction
Third genre: Drama
It is very hard to describe Francis Ford Coppola’s return to the big screen. His vanity project, appropriately titled “Megalopolis” is one of gargantuan dimensions, directed, written and fully funded by the legendary filmmaker himself. If auterism was measured in passion, you might as well classify Coppola’s latest as the be-all, end-all magnum opus of an unapologetic and uncompromised vision. After spending years in production hell, “Megalopolis” was unleashed upon an unprepared audience.
Trying to convey the meaning behind this creation is a daunting task indeed, one that is filled with overzealous special effects of various quality, grandiose and kitsch production design, sensational costumes, heightened performances, excessive surrealistic sequences, political overtones, vendettas, love stories, unnecessary narration and title cards all inhabiting an art-deco-Romanesque New York City renamed as New Rome. It boasts intriguing ideas yet its stylistic blend leads to an incoherent cinematic pastiche.
While engaging aspects are introduced, they are as easily abandoned much to the disappointment of those who seek something more substantial from one of the most important and influential directors of all time. What begins as a dichotomy between artistic creativity with the capacity to transform suburbs if not, entire cities against a dominant and corrupted political establishment, quickly converts into a metaphor for the existing state of the US which sees the rich getting richer and the poor being transformed momentarily into useful pawns of a (very on the nose and already dated in today’s climate) agenda.
Caught in the middle of utterly ridiculous and pretentious territories, Coppola’s intentions are admirable; basing the New Rome as the new degenerate equivalent of the ancient capital in the US is stimulating even if somewhat excessive. He dares to argue that for a democracy to avoid falling into fascism, a bold and inspirational take for the future is required. However, this sentiment is disingenuous considering how our main character is part of the current elite society that bestows upon him a great variety of benefits. Whether Coppola is doing this intentionally or not is open for debate but this is precisely the type of politics that have been produced by people who have forgotten their original roots.
This unrestrained and occasionally pointless of 2.5 hour length extravaganza attempts to put in display heavy philosophical embellishments that could have been presented more graciously by a more contemporary filmmaker. This (at least) daring creative manifesto is more busy waving its hands about themes, yet it never offers anything substantial; it is unable to know what to present or follow amidst its myriad of superficial subplots. Its mismatched tone does not help either seeking to fulfill a somewhat inspired Greek/Shakespearean tragedy on one hand and a satire of modern day political climate on the other. Be that as it may, the absence of pathos or engaging characters prohibits from doing so.
“You find me cruel, selfish and unfeeling? I am. I work without caring what happens to either of us. So go back to the cluuuub, bear it all, and stalk the kind of people that you enjoy.”
“Megalopolis” could be re-evaluated decades later as the work of a genius. Presently though, it cannot bypass several barriers which prevent it from having an immersive replay value. Its clunky performances erode the goodwill of its creator despite some scenery chewing performances by John Voight, an unrecognizable Shea LaBeouf and Aubrey Plaza while females existing only to gash over their lovers might raise an eyebrow for those who look out for conservative gender roles. Most importantly, six years since the “Star Wars” (1977-2019) saga concluded, Adam Driver is still not a thing. The actor has been playing pretty much the same genius, stoic, Italian womanizer a few movies now (“House of Gucci” (2021), “Ferrari” (2024)) sharing no chemistry with the plain Nathalie Emmanuel; his Cesar Catalina showcasing a very unflattering haircut, is in hardly any memorable scenes delivering lackluster speeches to the enjoyment of no one.
Unlike his pal George Lucas, Coppola does not have the technological finesse to rely on stunning visuals and it shows. A limited number of shots can be impressive and original. Nevertheless, as the film drags on, they become more of a distraction and less of a way to propel forward the anemic plot. Lacking a time frame, “Megalopolis“ jumps left and right becoming a Baz Lurhman and Terrence Mallick hybrid that emulates less of Coppola’s own and grounded takes, distracted by a murky mishmash of digital canvases.
“Megalopolis” is in dire need of serious editing and for each section where it might score a point, it loses three. This overstuffed narrative feature is barely standing on its own legs crumbling under the weight of a director’s wishing well of themes. With moments of pure visionary focus and embarrassing execution, you can’t help but admire Francis’ passion to bring this story to the big screen unrestrained by studio meddling. Yet, nothing stops “Megalopolis” from being a meandering, tiresome and pretentious affair.
An excessive, bold, anemic and misguided mess
+Excessive production design
+Fantastic costumes
+Voight, Plaza, LaBeouf
+Few visually impressive shots
-The rest not so much
-Wasted cast
-Clash of ideas, themes, politics
-Underdeveloped
-Adam Driver is not compelling enough