Francis Ford Coppola’s latest film, Megalopolis, is a sweeping narrative that explores grand themes and challenges viewers to engage deeply with its unconventional structure. Self-financed by Coppola over four decades, the film revolves around a fictional, idealized New York known as New Rome, portraying a civilization on the brink of collapse, with dreams of renewal among its inhabitants.
The story follows architect Cesar Catalina, played by Adam Driver, who strives to create a utopia amidst a decaying cityscape. However, he faces ideological opposition from the Mayor, Cicero, portrayed by Giancarlo Esposito, which intensifies when Cicero’s daughter, Julia, falls for Cesar. The film introduces a host of characters, including a power-hungry TV news host named Wow Platinum, played by Aubrey Plaza, and Cesar’s ambitious cousin Clodio, enacted by Shia LaBeouf, who stirs unrest among the working class.
Megalopolis is rich with Roman allegories and features dialogue that oscillates between high drama and absurdity. The performances, particularly those of Plaza and LaBeouf, shine amidst the chaos, with Driver delivering a committed portrayal despite the film’s challenging narrative.
As the plot unfolds, the film can appear disorganized, yet it captivates with its unique ambition. While the conclusion includes a preachy speech that may not align with current academic expectations, it carries a sense of profound commentary on society.
Critics have drawn parallels between Megalopolis and Ayn Rand’s The Fountainhead; however, Coppola’s vision differs in its optimism. The film does not present Cesar as a solitary savior but instead celebrates collaborative ideals. Drawing parallels with Fritz Lang’s Metropolis, it concludes with themes of cooperation between society’s classes rather than conflict.
Coppola’s artistic vision presents a stark contrast between the opulent lives of the elite and the struggles of the impoverished, depicted in a raw, symbolic manner. This heavy-handedness, reminiscent of classic fables, challenges audiences to suspend their disbelief.
At a pivotal moment, Julia is invited to envision Cesar’s utopia by closing her eyes and imagining beyond the literal interpretation of a garbage model presented to her. This moment serves as a metaphor for the audience’s journey through the film, urging viewers to look beyond surface-level critiques and engage with Coppola’s deeper message.
Though the film may not resonate with everyone, especially those who prioritize entertainment, it requires a willingness to delve into its artistic aspirations. Understanding Coppola’s decades-long commitment to this project can enhance the viewing experience.
Ultimately, Megalopolis may not be universally recommended or easily rated. Its reception may vary greatly based on the viewer’s predisposition to appreciate unconventional cinema. For those familiar with challenging filmmakers like Godard and Lynch, the film may be a rewarding experience. Others may need to prepare themselves for its distinct style before diving in.