Megalopolis Has Already Won

As a seasoned film enthusiast and critic with over three decades of experience under my belt, I have to say that Francis Ford Coppola’s latest magnum opus, Megalopolis, has left me both bewildered and intrigued, much like the enigmatic director himself.

After many years of creation, Francis Ford Coppola’s movie Megalopolis is finally reaching its audience. However, who exactly makes up this audience might be a bit unclear. With limited prospects at the box office and many film enthusiasts already having watched it through festival screenings and exclusive previews, one could argue that its primary viewers – film aficionados – have likely seen it by now. Critics have had varying opinions about the $120 million epic since its premiere at Cannes, a term like “mixed” might not fully capture the extent of their disagreement. In fact, they seem to be quite divided, some even within the same review. I recently spoke with a filmmaker who admitted to watching Megalopolis while alternating between being awestruck by the screen and cringing due to secondhand embarrassment.

In essence, watching Megalopolis at Cannes in May felt remarkably similar to my emotions. The movie boasts stunningly beautiful moments, yet it struggles with the fundamentals of storytelling. It showcases impressive set pieces, but there are equally many scenes that seem overexposed and dull, lacking energy and feeling contrived. The film’s unique features such as dialogue in verse and neo-Roman fashion designs can be endearing, but the acting performances vary greatly, with some actors seemingly unaware of the movie’s intended tone. Critics may not see eye to eye on the film’s message or purpose. For example, is Aubrey Plaza’s intentionally exaggerated and theatrical performance part of the film’s eccentric design, or is it simply overacting? And, one might wonder, is Jon Voight conscious of his presence in the movie?

It’s possible that the controversial manner in which Megalopolis was introduced could be attributed to this: A few weeks ago, Lionsgate faced criticism, some of it from me, for debuting a trailer that included fictitious reviews from renowned film critics by an AI. The creation of negative quotes about films like The Godfather by people such as Pauline Kael and Andrew Sarris sparked debate, but it also diverted focus from the intriguing aspect of the preview: Prior to the movie’s release, Coppola & Co. were criticizing critics for not appreciating the master’s work adequately. Essentially, their argument was this: The Godfather, Apocalypse Now, and Bram Stoker’s Dracula were all box office successes, so if these movies were not well-received by critics, how can they be trusted with their assessment of the upcoming film?

Despite any disagreements about historical accuracy or current events, critics have shown more kindness towards the film Megalopolis than the average audience might. As a critic myself, I found the movie anything but boring. With all its numerous imperfections, it’s too vibrant and alive to be ignored, dismissed, or forgotten. In fact, recently I revisited Coppola’s work at the Toronto International Film Festival and left with a strong feeling that I’ll watch it again before it leaves theaters (and I might need to hurry). Megalopolis is not your typical movie, but it improves significantly upon repeat viewings. While it could easily be written off as the eccentric ramblings of an artist out of touch and past their prime, surrounded by sycophants, the deeply personal nature of the film, its blend of raw sincerity with unrestrained humor, requires a deeper look. And having some understanding of the creator’s life and career adds depth to this exploration.

In an intriguing conversation I had with Coppola years ago, he shared his unique upbringing – constantly moving every six months due to family circumstances, which led him to attend 22 different schools before college. This nomadic childhood left him feeling perpetually alone, a sentiment that lingered throughout his life. It’s this sense of loneliness, especially experienced in the formative years, that I believe influenced my decision to create a film like “The Conversation“, a narrative revolving around a solitary older man who lives secluded and listens in on others. There seems to be a piece of me reflected in this character’s isolation.

In retrospect, there was an air of isolation and solitude about him that was undeniable. Delve into Eleanor Coppola’s acclaimed documentary, “Hearts of Darkness,” detailing the production of “Apocalypse Now,” and you’ll understand: in the midst of that legendary, high-stakes chaos, he stood as the loneliest man on earth.

In “Megalopolis,” the central theme revolves around a paradox, as it explores grand concepts that may not always deliver on their promise but certainly provoke thought. The question posed by Adam Driver’s character, Cesar Catilina, during a press conference midway through the film is particularly significant: “Is this society the only one we have access to? And when we discuss these questions, isn’t that a form of utopia?” These lines are frequently featured in trailers, underscoring their importance to Coppola. It’s worth noting that this scene also marks the film’s “live cinema” segment, where at certain screenings, an individual stands at a microphone to pose questions to Cesar (although the audio is pre-recorded). Initially, Coppola hoped for a full audience interaction experience, even asking Amazon to develop voice-recognition software that would enable viewers to interrogate Cesar. The director’s view of utopia as a dialogue about the future rather than a fixed state mirrors his filmmaking philosophy. As he stated in our previous interview, “When you’re making a movie, you’re essentially asking a question. And when you’re done, the film you have is the answer.

In Megalopolis, there’s not much discussion about the city or world’s future, just some broad references to “the present” and “eternity”. The details are scant. The protagonist, Cesar, is a forward-thinking architect who often delivers lengthy speeches, yet the concept he’s developing, Megalon, seems more like magic than a well-defined scientific principle.

Though the film itself may not explicitly delve into discussions about its future, it certainly sparks intense debates and heated arguments among viewers. Francis Ford Coppola has crafted a movie that stirs passionate disagreements, grand proclamations, and fierce accusations. In past times, such a film might have incited riots at screenings; today, it’s more likely to play to empty theaters. Nevertheless, this won’t deter us from discussing it – be it about its artistic form, the daring risks of investing one’s own funds in a visionary project, the viability of live cinema, the director’s sanity, or the trustworthiness of critics. In essence, perhaps Coppola has accomplished his goal. For a brief instant, he’s transposed the conversations swirling in his mind onto the world outside his head, making us, the audience, part of the dialogue that is Megalopolis.

2024-09-27 18:54

Megalopolis Has Already Won

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