As a movie enthusiast with a soft spot for ambitious filmmaking and a deep appreciation for Francis Ford Coppola’s work, I approached Megalopolis with a mix of anticipation and trepidation. Unfortunately, this film left me more bewildered than awestruck.
Francis Ford Coppola’s film, “Megalopolis,” delivers on its reputation as a wildly unconventional and disjointed masterpiece, marking one of the most confusing chapters in his illustrious filmmaking career. Having invested an astounding $120 million from his own pockets, Coppola poured years of effort into this project following numerous setbacks and script revisions after the 9/11 tragedy in New York City. The ambitious director’s portrayal of a decaying city torn between an idealist’s quest for utopia, a pragmatist’s resistance, and his daughter’s divided loyalties is as daring as it is perplexing. Many viewers may find “Megalopolis” incredibly hard to comprehend. However, those who are willing to embrace the spectacle without question should at least acknowledge Coppola’s commendable dedication.
Megalopolis’ Large Cast of Characters
Laurence Fishburne narrates “Megalopolis” as a grand, science-fiction tale in the style of ancient Rome, but set in an alternate present-day timeline. He plays the role of Fundi Romaine, who serves as both driver and caretaker to Cesar Catilina, portrayed by Adam Driver. This brilliant architect and Chairman of the Design Authority for New Rome is assigned the task of revitalizing the city’s struggling neighborhoods and decaying infrastructure. After the enigmatic death of his wife, Cesar stumbles upon a remarkable substance called Megalon, which grants him an extraordinary ability: he can pausetime.
Cesar’s main adversary is the newly elected mayor and previous district attorney, Franklyn Cicero, portrayed by Giancarlo Esposito. He views Cesar as a fraudulent con artist who will squander billions of dollars and drive the struggling city towards collapse. Julia, played by Nathalie Emmanuel, is Franklyn’s cherished daughter and one of New Rome’s most prominent socialites. Financial journalist Wow Platinum (Aubrey Plaza), who also happens to be Cesar’s lover, keeps a close eye on Julia for the sake of public adoration.
Shia LaBeouf takes on the role of Clodio Pulcher, a villainous and deviant relative of Caesar. Although he has constantly tried to gain his uncle Hamilton Crassus III’s (Jon Voight) approval, who is one of New Rome’s wealthiest citizens, he has always been overshadowed by Caesar. The story unfolds as the two present their visions for the city’s future. Caesar publicly belittles Franklyn as a short-sighted fool, while Megalon will allegedly improve New Rome. Julia, deeply insulted by Caesar’s arrogance and disrespect towards her father’s position, decides to secretly meet him the next day.
A Class-Conscious Roman Allegory with Ridiculous Dialogue
Coppola sets the conflict between Cesar and Franklyn along the lines of the real-life Catilinarian conspiracy of 63 BC, where a rising politician sought to undermine established Roman leadership. The crux lies in the fact that Cesar’s groundbreaking ideas threaten the stability enjoyed by those who are deeply invested in the existing system. The tale unfolds with wealth disparity as its central theme, as New Rome’s ruling class entertains the lower classes with the spectacle of chariot races and auctions of vestal virgins—whose chaste image represents the illusion of a brighter future. Distraction through shallow comforts is their tactic, even as the rich continue to oppress the poor for their own gain.
Coppola’s intentions are obvious. His heavy-handed execution is where the fault lies. The first glaring problem is the script’s awful dialogue. Cesar and Julia flirt in a bizarre mix of Latin and high-speak pretentiousness that honestly sounds ridiculous. It gets worse when she tries to impress her father by quoting Marcus Aurelius. The characters drone on in long, tiresome interactions. They yap with flourish and take forever to get to a point which could easily have been said clearly and succinctly. Plaza’s Wow Platinum becomes the chief vocal offender in an overblown performance that veers accidentally comical. LaBeouf, to his credit, is the only actor in the ensemble that pulls off his character’s lines.
Debauchery, Excess, and Nonsense
In Megalopolis, one finds an abundance of unrestrained revelry, with women frolicking freely and excessive drug use that resembles the Bacchanalia of ancient Rome, a playground for the wealthy. Coppola’s direction seems to echo this decadence, where Shia LaBeouf embodies Caligula as he underscores themes of unbridled indulgence. In the eyes of the powerful, labor is handled by others, so ethics hold little significance when their needs are met, and idleness is considered the most grievous sin. This hedonism, while fitting within the movie’s context, is overly emphasized to the point of being overwhelming.
Megalopolis boasts stunning visuals, costumes, and set design, showcasing Coppola’s wealth. However, these eye-catching elements are overshadowed by repeated instances that leave you scratching your head in confusion. The movie starts with Cesar dramatically standing on the ledge of a structure resembling the Chrysler building, gazing at New Rome’s expanse, and then snapping his fingers to pause time. It’s unclear why time stops there – is it to appreciate the moment or simply for fun? Unfortunately, this question remains unanswered, leaving viewers puzzled.
A Love Story Without Chemistry Sinks Coppola’s Opus
The absence of chemistry in the film “Megalopolis” proves to be an excusable oversight. The romantic connection central to the plot is difficult to accept. Julia is supposed to function as a link between Cesar and Franklyn, but in reality, Driver and Emmanuel have about as much affinity for each other as oil does for water. Both are undoubtedly gifted actors; it’s regrettable that their acting talents did not complement each other on screen.
Coppola boldly attempts a home run, but instead strikes the boundary line with a heavy thump. The movie just barely manages to scrape by with one and a half stars due to his reputation, sheer audacity, and daring style. A different director might have faced harsh criticism. Megalopolis, unfortunately, is a chaotic mess.
The film titled Megalopolis is a collaboration between American Zoetrope and Caesar Film LLC, set to hit theaters on September 27th through Lionsgate.
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2024-09-26 04:03