Megalopolis, Francis Ford Coppola’s passion project of over 45 years, might be his most autobiographical film. The story centers on an artist in a race against time to complete his masterpiece. His unique vision is challenged by conservative forces who wish to maintain the status quo. Coppola was one of several visionaries who ushered in New Hollywood, signaling a changing of the tide. Decades later, Hollywood is undergoing another regime change. Megalopolis could be seen as Coppola’s olive branch to the next generation, encouraging them to keep pushing boundaries. Whether or not Megalopolis is his final film, it feels a fitting bookend to his sometimes revolutionary and oftentimes chaotic career.
Does that make Megalopolis a good film? “Good” might be the right word, but “bad” doesn’t feel appropriate either. “Okay” also wouldn’t do it justice. Finding the right word to describe Megalopolis is almost as challenging as choosing a star rating (let’s say 2.5, but round it up to 3). While it’s hard to fully embrace Coppola’s cinematic fever dream, I can’t in good conscience tell people not to see it. Whether you praise or pan the results, every diehard moviegoer should see Megalopolis at least once. A second time might be pushing it.
The film sets itself in a vision of New York known as New Rome. Adam Driver’s Cesar Catilina seeks to construct a utopian city called Megalopolis. Cesar is met with resistance from the corrupt Mayor Franklyn Cicero (Giancarlo Esposito). Caught in the middle is Cicero’s daughter Julia (Nathalie Emmanuel), who initially opposes Cesar before falling in love with him. Also in the mix are Jon Voight as Cesar’s aging uncle, Shia LaBeouf as his buffoon of a cousin, and Aubrey Plaza as Wow Platinum. Her name is so ridiculous that even Chloe Fineman’s character calls attention to it. While the actors are all fun to watch, you get the sense that they don’t always understand the dialogue they’re reciting.
Coppola’s script aims to replicate Shakespeare and Golden Age epics, but it reads more like a Star Wars prequel or – dare I say – The Room. This amounts to numerous line delivers that are either unintentionally or intentionally hilarious. In any case, this whole movie is a meme waiting to happen. For a film Coppola spent decades envisioning, some scenes feel almost improvised. While the experimental approach is appreciated, it adds to the tonal confusion. The story isn’t helped by unnecessary narration from Laurence Fishburne, who plays Cesar’s faithful assistant. Why is he the story’s narrator? You’d have to ask Coppola. You’d also have to ask him how Cesar can stop time, why the film suddenly introduces a “live participant” segment, and what happens to several subplots that don’t go anywhere.
The film is at its best when leaning into visual storytelling. Like Brad Bird’s Tomorrowland, the titular setting is talked about at great length, yet rarely seen. Much of the film takes place in New Rome, which usually just looks like modern New York. Whenever the film combines elements of New York and Rome, though, we see the potential for a cinematic epic that Hollywood rarely makes anymore. There’s an especially stunning set piece that combines the grandeur of the chariot race in Ben-Hur with the flair of a Taylor Swift concert. Considering how Taylor Swift: The Eras Tour brought audiences back to theaters, that combination is more fitting than you may think. Say what you will about the execution, but Megalopolis is a film for cinephiles.
Megalopolis encompasses Coppola’s inconsistent filmography, from the highs of The Godfather to the lows of Jack. In interviews, Coppola has repeatedly compared Megalopolis to Apocalypse Now, a film that some praised and others panned upon release. One can only hope Megalopolis will also inspire a making-of documentary ala Hearts of Darkness. While history has been kind to Apocalypse Now, Megalopolis shares more in common with Coppola’s One from the Heart. Living up to the aforementioned film’s title, Megalopolis comes straight from the heart, not to mention Coppola’s wallet. Being a $120 million self-financed film, it’s fascinating seeing Coppola’s vision come to fruition with no executives or focus groups getting in the way. Even if that vision is a mixed bag, it’s an experience you won’t forget (for better or worse).