Francis Ford Coppola’s much-anticipated film, Megalopolis, presents an ambitious exploration of themes such as Roman history, American history, political dynamics, urban planning, and human relationships. The film is currently screening at Alamo Drafthouse in Boston and various other venues across New England.
Megalopolis marks a significant milestone in Coppola’s career, representing a project he has been developing for four decades. It has been financed with a substantial personal investment of $120 million, showcasing Coppola’s deep commitment to this cinematic vision. However, the reviewer admits that they have only seen the film once, leading to a challenging assessment.
The viewer likens their experience of Megalopolis to previous encounters with Stanley Kubrick’s films, suggesting that the complexities and artistry of such works often require multiple viewings to fully appreciate. Coppola’s film, set in a futuristic Manhattan reminiscent of Rome during its decline, follows the character Cesar Catilina, an architect played by Adam Driver, who embodies elements of historical figures and innovators.
Catilina’s ambitions, to develop his vision of a utopian city using a revolutionary building material called “megalon,” come into conflict with Mayor Cicero, portrayed by Giancarlo Esposito, who favors a more conservative approach to urban planning. The film also introduces Catilina’s love interest, Julia, who must navigate loyalties between her father and Catilina.
Visually, Megalopolis is described as opulent, filled with rich textures and colors. However, the reviewer notes that Coppola’s artistic choices sometimes undermine the film’s impact, with fast cuts disrupting the narrative flow and excessive exposition detracting from the visual elegance. There are indications that this film, much like Apocalypse Now, may lead to various cuts in the future as audiences seek to grasp its sprawling narrative.
In its exploration of societal divides and the impacts of technology, the film draws on influences from classic works like Fritz Lang’s Metropolis and H.G. Wells’ Things to Come. The review acknowledges an overwhelming sense of ambition that might cause the director to falter in conveying his vision clearly.
Despite its apparent flaws, the film also features moments of brilliance, offering striking imagery and profound reflections on urban injustice, akin to historical events like 9/11. Ultimately, the reviewer suggests that while Coppola’s cinematic genius is evident, a balance needs to be struck between the director’s vision and the characters’ stories for the film to reach its full potential. The complexities of Megalopolis leave the impression of a grand work that may still be evolving.