Megalopolis

Full disclosure: This film is a disaster of epic proportions-an absolute train wreck that careens off the tracks, crashes, and then somehow sets itself on fire. It's so bad, it's almost brilliant, the kind of so-awful-it's-genius nightmare that future cult fans will rave about. And you know what? I respect the hell out of Coppola for it. The guy is a cinematic legend who just decided to throw all caution (and coherence) to the wind and go full mad scientist on this. It's a glorious, unfiltered mess from the mind of a genius who clearly stopped caring about what anyone thinks. Bravo, you magnificent lunatic! 👏🏻

You can see every cent on the screen. That's the good thing about Francis Ford Coppola's latest and quite possibly last movie. Between the cast, the costuming, and the set design, which reimagines New York City as New Rome, you can see it all. The only question this raises is why was 42nd Street from Third Avenue to Times Square left unaffected, and what about the movie theaters from 7th to 8th Avenue?

That said, it is natural to be skeptical of what is essentially an admiring biopic of Robert Moses. Especially when it has apparently been written by Ayn Rand as a reply to METROPOLIS and then handed to Abel Gance after convincing him he's making a movie about Julius Caesar instead of Napoleon. And don't forget the quotations from Marcus Aurelius.

It is, in sum, a very learned movie. To appreciate the details, you need to have read extensively in Roman history, seen a lot of silent films, and be familiar with New York City in the second half of the 20th Century, including the flight of the middle and upper classes from the 1950s through the 1980s. Through the vagaries of my upbringing and a chaotic course of self-education, I can claim those things. So. What do I think?

The performances are fine. However, I am left with the question, as I am about so many movies these days, of who Coppola made this movie for. It is claimed he spent about $140 million of his own money on this feature. The general rule is that a movie has to gross about twice its production cost to break even. I can't see a large enough audience for this to produce $300,000,000 in tickets and secondary rights. It is simply too long, a shaggy dog story about love and artistic vision being more important than anything else.

This would not, of course, be the first time that Coppola has let his artistic ambitions explode on him; even though it is claimed APOCALYPSE NOW eventually made its money back, I have my doubts about that if you add in interest costs. Certainly ONE FROM THE HEART was a disaster, and he spent a couple of decades making nicely commercial movies from other sources to dig his way out, and let the wineries and restaurants make him money. Neither do I believe this movie will ruin him. There are certainly enough movies buffs around to make the net loss from this bearable.

All of which goes a long way to answering my question of who Coppola's intended audience was. It was Coppola himself, an attempt to prove himself the complete film maker, instead of the fine translator of others' well told tales. I hope he likes what he has wrought.

"Megalopolis" is a film I wanted to like, primarily because it's an incredibly expensive indie project, written, produced, financed, and directed by the legendary Francis Ford Coppola-an auteur who has been planning this work for 40 years and loves it so much that he personally rated it 10/10 on the film platform Letterboxd. Moreover, the experience of sitting in a nearly empty IMAX theater with just a few others added to the atmosphere... However, aside from Adam Driver's Oscar-worthy performance and the stunning visual frames that looked beautiful on the massive screen, nothing else in this film is worth praising.

The plot follows the genius scientist Cesar, inventor of the revolutionary material "Megalon," with which he plans to build a utopian city of the future-"Megalopolis." This is one of the film's central themes-obsession with perfection in a world and society far from it. Envy, jealousy, greed, and the lust for power are other themes that shape the essence of this work. Coppola doesn't shy away from weaving in political commentary as well as reflections on human existence.

When I reflect on the film's themes, one might think this is a good film. On the contrary, all of these themes are destroyed by narrative chaos, which in my opinion stems from the director's pretentious ambition to present an unprecedented 'megalomaniac' work of art. The editing and narrative are disjointed-the film jumps from scene to scene with no coherence, which became tiresome after just fifteen minutes. By the midpoint, I had completely lost interest in the story and was simply waiting for it to end.

Even though most of the cast is well-known, it's difficult to connect with any of the characters-most are shallow, and some are entirely unnecessary. The only character I connected with was Cesar, thanks to Adam Driver's brilliant performance. His ability to convey Cesar's mania, dialogue, and emotions is likely the reason I stayed engaged at all, rather than the depth of the character itself. The dialogue is mixed-sometimes brilliant, sometimes dull-which made the experience quite uneven.

The cinematography is excellent, and had Coppola focused primarily on this element, this could have been an extraordinary film.

In conclusion, I can say that due to its impressive cinematography, I can't consider "Megalopolis" a bad film, but because of its awful narrative structure, I also can't recommend it to anyone. It's disjointed, unsure of which themes to focus on, and unclear about what it truly wants to convey. Uncertain in its very purpose.

On one hand, this film has some interesting ideas and visuals, but some ideas never evolve, and some visuals don't look good.

It's challenging to understand what Coppola's intention was with this film. It seems like he chose not to focus too much on characters but rather on themes. However, some scenes suggest that the audience should feel empathy for the characters, but one simply can't. One reason for that is the pacing of this film; it somehow manages to be fast, yet feel slow, and that might be because some scenes are dull. If we remove all the misleading character development, we are left with misleading idea development. Megalopolis bombards you with interesting ideas, but because there are quite a few of them, none of them evolves into a solid conclusion. As I already mentioned, it's hard to see where Coppola was going with all of this.

If his intention was to go against the classical narrative structure and challenge viewers with a different type of storytelling, then that didn't work either. Some scenes contain clichés, and the overall structure feels like a mix of 50s to 90s scenery. One interesting thing the movie does frequently is plant a seed that sometimes does not grow-it stays in that scene, and then we move to the next one. This method of storytelling is misleading and confusing for most audiences, and it probably would work better if this technique had a solid foundation throughout the whole film. But it simply does not feel right.

David Lynch once said that you can make any film, any art the way you want, as long as it feels right. His films are stranger and more difficult to understand than Megalopolis, yet when you watch Lynch's work, you don't feel misled-everything feels right, no matter how strange it is. Megalopolis sometimes feels right, sometimes it doesn't.

Megalopolis is a good example of how the director's stylistic touch matters to the look of the movie. The cinematography of this film was done by the same person who shot The Master. Yet this film feels like any expensive commercial shot today-too vivid, too warm, too basic.

I will definitely rewatch this film in the future, all jokes aside. This film has a shtick to it that I didn't quite get the first time watching. Overall, it's a bit sad that this is Coppola's last film, but I'm sure he has no regrets making it. After all, this is the guy who made Apocalypse Now, and I will respect him forever for his contribution to American cinema.

I so desperately wanted to be part of the minority who enjoyed Megalopolis. However, what an abhorrent nightmare; or maybe a fever dream is more accurate. There's no doubt that the actual bundle of ideas that make up Francis Ford Coppola's "masterpiece" are incredibly unique and interesting. The problem is the execution of those ideas and the dialogue that connects them together. I am obsessed with the idea of New Rome and all these quasi Roman characters plotting against each other like a Shakespearean Game of Thrones. But listening to Adam Driver give a quote from Hamlet and then immediately saying "in the clurrrrb" and Jon Voight saying "boner" are just unforgivable. I roughly understand the plot of Megalopolis, but I cannot even begin to fathom why any character does anything they say or do. The amount of talent that was wasted on what has to be one of the most beautiful, visually stunning backdrops, is disrespectfully confusing. With all of that being said, I will probably cause myself to suffer an additional viewing of Megalopolis, just to be sure I'm sure the experience was so exhausting.