Filmmakers aim to share messages through their art, which is often confused with mere entertainment. Emotional engagement with a film or artwork is sometimes mistaken for the artist’s intention. Ultimately, every artist desires a platform to express their ideas without being questioned. The connection between the audience and the artist is what transforms the work into an entertaining experience.
A moment that resonates from D. A. Pennebaker’s Bob Dylan documentary Don’t Look Back occurs during Dylan’s pivotal 1965 British tour. When an audience member shouted “Judas” at a concert, a journalist questioned Dylan’s choice to move from folk music to rock, implying folk was more artistically legitimate. Dylan countered, asking if anyone came to see him for any reason other than entertainment. This illustrates the truth that, regardless of stylistic choices, artists convey messages while audiences seek entertainment, forming a mutual agreement.
This reflection comes to mind while observing Francis Ford Coppola’s ambitious film, Megalopolis, which the director self-financed over four decades. This film carries significant themes, yet it may leave some viewers bewildered. Coppola invites audiences on a journey where enjoyment hinges on their willingness to engage with him.
Set in an idealized version of New York called New Rome, Megalopolis tells the tale of a crumbling empire and its people’s dreams for a better future. Renowned architect Cesar Catalina, played by Adam Driver, is determined to construct a utopia in a decaying city. However, Mayor Cicero, portrayed by Giancarlo Esposito, opposes the project, even as his daughter Julia (Nathalie Emmanuel) falls for Cesar. Also featured are Wow Platinum (Aubrey Plaza), a power-hungry TV host, and Cesar’s ambitious cousin Clodio (Shia LaBeouf), who seeks to instigate unrest among discontented workers.
The dialogue is laced with Roman allusions, delivered in a mix of Shakespearean flair and overt earnestness, leading to moments of unintended humor. Despite the chaos, Plaza and LaBeouf shine, and Driver’s commitment is commendable as he navigates his complex role, blending grandiose visions with a sense of control.
Though the film may seem disordered, there is a compelling quality that holds the viewer’s attention. Despite the unusual ending, which features preachy rhetoric, its oddity oddly resonates.
Critics have likened Megalopolis to Ayn Rand’s The Fountainhead. However, Coppola’s vision exudes optimism, as he portrays Cesar not as a savior, but as an idealist. The film echoes Fritz Lang’s Metropolis, which concludes with a collaboration between the working class and business leaders to achieve modern harmony.
Coppola reinterprets this conclusion, envisioning the idealist artist and the bureaucrat as needing mutual guidance rather than conflict. He seeks his art to endure beyond his lifetime, confronting societal decay alongside displays of extravagance and corruption among the wealthy, juxtaposed with the struggles of the poor trapped in a dark existence.
While the film’s themes can feel heavy-handed, it still requires the audience to suspend their disbelief. A pivotal moment occurs when Julia inquires about Cesar’s utopia, only to be shown trash. His request for her to envision beyond the obvious signifies Coppola’s challenge to audiences: to look past traditional cinematic virtues and experience his vision.
For some, this kind of commitment from the viewer may feel excessive. Participation in this artistic vision without a shared understanding may lead to disillusionment, especially if one does not find entertainment in it.
While it’s difficult to recommend Megalopolis outright or assign it a rating, appreciating it requires context about Coppola’s lengthy dedication to the project, including his financial sacrifices. This ambitious endeavor aims to explore utopia found through artists with grand visions. Although I found it intriguing enough to consider a second viewing, those without this background may interpret its complexity as pretentious.
For daring film enthusiasts ready to embrace a director’s unconventional journey, Megalopolis offers a compelling experience, while others might need more preparation before diving into its narrative depths.