REVIEW: “Megalopolis” (2024)

As a seasoned film critic who’s seen more movies than I care to remember, I must say that Francis Ford Coppola’s latest masterpiece, “Megalopolis”, left me utterly spellbound. The intricate web of power struggles, love triangles, and larger-than-life characters felt like a modern-day Roman epic, transporting me back to the grandeur of ancient Rome in the comfort of my plush theater seat.

2024 might see the most divisive film of the year hailing from one of America’s all-time great filmmakers, Francis Ford Coppola. With five Academy Awards under his belt and legendary status in New Hollywood, Coppola unleashes his cinematic creativity in “Megalopolis”. This enigmatic, yet captivating production defies conventional categorization and promises to be an unprecedented, mesmerizing spectacle unlike any other movie you’ll watch this year.

The concept for Francis Ford Coppola’s “Megalopolis” originated in 1977. In 1983, he started writing the script. By 1989, Coppola was searching for locations and preparing for filming, but the project was ultimately postponed. It was revived in 2001, with Coppola even holding read-throughs with potential actors. However, after the September 11 attacks, production was halted again. In the years that followed, Coppola decided to fund the movie himself. He invested $120 million of his personal funds and, having overcome the challenges posed by the COVID-19 pandemic, filming finally commenced in 2021.

The film “Megalopolis” is both challenging and fulfilling to watch. Unlike many mainstream movies, it can’t be quickly consumed; instead, it invites a deeper engagement. Its unique style, intricate structure, and thought-provoking narrative set it apart from the norm. It’s designed not just to be watched, but also to be felt, contemplated upon, and revisited. This movie aims to captivate you with its boldness and grandeur while pushing your intellectual boundaries. It intends to astonish you with its extravagance, confuse you with its inconsistencies, yet inspire you with its artistic passion and strong beliefs.

In “Megalopolis,” you won’t find a clear storyline, consistent themes, or a single unifying vision. Instead, it’s a cinematic exploration of the filmmaker’s personal ideas, which often collide in bursts of creative chaos. Coppola acknowledges that this may not meet traditional expectations and he even added the subtitle “A Fable” to set appropriate expectations and dispel potential misunderstandings.

In essence, “Megalopolis” showcases Francis Ford Coppola’s creative freedom, as it stands as a bold and imaginative work that breaks free from any constraints, even those self-imposed. It’s an operatic narrative filled with language reminiscent of pseudo-Shakespearean prose, serving as Coppola’s personal communication to us. Through his characters, who can be both avatars and metaphors, he expresses his concerns, makes arguments, delivers ominous warnings, and sprinkles optimism. Simultaneously, his remarkable visual storytelling suggests a filmmaker equally dedicated to preserving cinema as he is to preserving our society.

Coppola’s tale unfolds in the decaying metropolis of New Rome, an intriguing blend of futuristic New York City and ancient Roman architecture. This vast city was once bustling with life but now suffers under the weight of poverty, crime, and corruption. The visionary architect, Cesar Catilina (portrayed by Adam Driver in a captivating performance), is tasked with reimagining and revitalizing a significant part of New Rome. He calls this ambitious project Megalopolis, which he envisions as a flourishing, state-of-the-art utopia – an unparalleled architectural and technological marvel, renowned for its stunning beauty and wealth.

To achieve his grand design, Cesar uncovered a potent and indestructible substance known as Megalon. The origin of this material is shrouded in mystery, yet it provides Cesar with the extraordinary ability to control space and time. There are those who harbor valid concerns about its mighty power. However, Cesar has mastered the art of utilizing it in a way that enables him to materialize the breathtaking structures born from his imagination.

However, Cesar encounters resistance from Mayor Franklyn Cicero of New Rome, played by Giancarlo Esposito, who is quite satisfied with the current situation. Franklyn strongly disagrees with what he sees as Cesar’s self-indulgent endeavor, instead advocating for a more pragmatic approach to revitalization like constructing a new casino. The tension between Cesar and Franklyn forms a key conflict that fuels much of the drama.

As a movie enthusiast, I found myself deeply engrossed in the storyline when things took an unexpected turn. The feuding protagonists faced yet another hurdle as Cesar developed feelings for Julia, a captivating socialite and the daughter of the mayor, played brilliantly by Nathalie Emmanuel. This beautiful woman finds herself caught between two men she holds dear – their love for her is matched only by their contrasting ideals. Emmanuel’s radiant and earthy performance provides an insightful glimpse into Coppola’s intricate world, making me feel as if I am part of the story unfolding on screen.

Simultaneously, an array of vibrant side characters contribute to the completion of Coppola’s masterpiece. Aubrey Plaza portrays Wow Platinum, a TV news personality whose ambition for power surpasses any yearning for a compelling tale. Disappointed by Cesar, she redirects her affections toward Hamilton Crassus III, a wealthy and older bank executive (played by Jon Voight). Additionally, Shia LaBeouf embodies Clodio Pulche, a character marked by envy and debauchery, who transforms from a lewd outcast into a populist force driven by his resentment toward his cousin, Cesar. Laurence Fishburne takes on the role of Cesar’s faithful assistant, chauffeur, and chronicler, while Dustin Hoffman portrays Franklyn’s trusted troubleshooter.

In many scenes, Plaza and LaBeouf display behaviors that are difficult to manage. Instead of fitting seamlessly into the high-quality performances, they appear to be acting in a different film altogether. Their characters are undeniably extravagant and hedonistic, and Coppola gives them freedom to express this, making their decadence quite clear. However, they take things too far, creating a disconnect, even for a movie that is heavily theatrical.

In a striking manner, DP Mihai Mălaimare Jr.’s diverse set of techniques imbues “Megalopolis” with a surreal atmosphere that suits its grand, cosmic theme. By skillfully blending long-lens shots, digital backgrounds, profound close-ups, traditional iris shots, and vibrant kaleidoscopic effects, he creates an immersive experience while also conveying significant information. The extravagant visuals at times stand out as a deliberate choice, highlighting the ostentatious gold-plated edifices of the wealthy and self-indulgent, whose empty lives are characterized by privilege and indulgence.

In the shaping of his central theme of falling empires, Coppola weaves narratives encompassing diverse forms of love: familial love, self-love; artistic love, political love; ambition-driven love, decadent love; creative love, destructive love. Through this approach, he presents a bold perspective on our contemporary world, one born from heartfelt concern, influenced by classical wisdom, and conveyed with undeterred sincerity. This expansive and weighty project occasionally teeters under the pressure of its own creativity, but it never falters thanks to Coppola’s unwavering faith in his message and his fearless determination to share it widely.

People often say that art should reflect the artist’s feelings rather than trying to please everyone. Movies can be tricky because they need to find a balance between being accessible and remaining true to the creator’s vision. In my opinion, Coppola manages to walk this tightrope with his film “Megalopolis.” The movie is both breathtakingly beautiful and bewildering; it’s captivating but also puzzling. It doesn’t try to hold your hand or conform to expectations. Instead, it takes risks that sometimes don’t hit their mark. However, the passion and emotion of the director are palpable in every sharp dialogue and striking visual.

2024-09-29 17:57

REVIEW: “Megalopolis” (2024)

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