Megalopolis: Coppola's Ambitious Cinematic Vision Defies Expectations

In the early 1980s, acclaimed filmmaker Francis Ford Coppola set his sights on an ambitious, fable-like drama that would draw parallels between the United States and ancient Rome. After years of setbacks, Megalopolis has finally arrived, and it's a cinematic experience that defies expectations, both in its grandeur and its flaws.

A Visionary Director's Lifelong Passion Project

The Decades-Long Journey of Megalopolis

After the costly flop of his 1982 musical, One From the Heart, Coppola wasn't able to get another big-budget labor of love off the ground, and Megalopolis languished for decades. It was only a few years ago that he returned to the project, selling off part of his wine business and putting up $120 million of his own money. Even after production wrapped, setbacks continued, from challenges finding theatrical distribution to reports that Coppola had behaved inappropriately with women on the set, which the director has denied.

Coppola's Battle with Time and the Industry

Watching the movie, one can't help but think about Coppola, who's now 85, and his own battle with time, including the four decades he spent trying to get Megalopolis made. But whatever resentment Coppola may feel toward an industry that has both honored and shunned him over the years, there isn't a trace of bitterness in the movie. Cesar, the film's protagonist, believes in the future, and so does Coppola. Just because Rome fell, he seems to say, doesn't mean the world has to. Wars can end, the planet can be saved, and people can choose to live in a more inclusive and equitable society.

Coppola's Enduring Belief in the Power of Cinema

Most of all, Coppola clearly believes in the future of movies, and that, in a medium overrun with franchises, streaming junk, and AI technology, there's still room for a big-screen work of art as grandly improbable and deeply human as Megalopolis. Like so many of Francis Ford Coppola's movies, it truly is one from the heart, a testament to the director's unwavering passion and vision.

A Divisive, but Captivating, Cinematic Experience

Megalopolis has arrived, and whatever you have or haven't heard about it, it's a cinematic experience that demands to be seen. You might conclude, like some of the critics at this year's Cannes Film Festival, that it's an unholy mess, full of disjointed plot points, didactic ideas, and muddled historical allusions. But to those willing to embrace its flaws, Megalopolis offers a dazzling, passionate, and often brilliant exploration of the human condition, set against the backdrop of a futuristic, Roman-inspired metropolis.

A Visionary Blend of Genres and Influences

The story takes place in a city called New Rome, which looks a lot like New York, but with Roman flourishes, from the classical architecture to the bacchanalian parties and even a Colosseum-style sports arena. The plot essentially updates a famous Roman power struggle from 63 B.C., blending elements of romance, sci-fi noir, and political thriller. The dialogue has a speechy stiffness that takes some getting used to, but the story itself is a fairly straightforward mix of these diverse genres and influences.

A Talented Cast Brings Coppola's Vision to Life

Nathalie Emmanuel and Adam Driver star as Julia and Cesar, the central characters in this epic tale. Giancarlo Esposito, Jon Voight, and Shia LaBeouf round out the impressive ensemble, each bringing their own unique talents to the screen. Aubrey Plaza, in particular, steals every scene she's in, delivering a standout performance as an unscrupulous TV reporter.

Coppola's Ambitious Exploration of Time and the Human Condition

If Megalopolis has one subject, it's time. The characters talk about time constantly, and the trippy production design is full of clocks and sundials. Cesar has the supernatural ability to briefly freeze time in its tracks, but even he cannot halt its forward march for long. This exploration of time serves as a metaphor for the human condition, with Cesar grappling with an existential crisis and the fear that humanity's time may be running out.