Coppola’s ‘Megalopolis’ Misfire

Writer Joseph J. Airdo // Phoenix Film Critics Society

Francis Ford Coppola’s “Megalopolis” – a visionary masterpiece or a beautiful disaster? Join Phoenix Film Critics Society member Joseph J. Airdo as he unravels the enigma of Coppola’s latest epic. From the dreamlike streets of New Rome to the Shakespearean echoes in Adam Driver’s performance, we’ll explore why this ambitious project might leave you more bewildered than enlightened. Tune in to discover why “Megalopolis” could be the most baffling cinematic experience of the year, and learn why sometimes, in both city planning and filmmaking, less is more.

Francis Ford Coppola’s “Megalopolis” is a bewildering cinematic experience that leaves viewers more perplexed than entertained. Set in a futuristic New York City dubbed New Rome, the film follows visionary architect Cesar Catilina (Adam Driver) as he attempts to rebuild the city as a utopia following a catastrophic disaster. However, Coppola’s ambitious project, while visually striking, ultimately collapses under the weight of its own pretensions.

The film’s premise is intriguing, exploring themes of progress versus the status quo and drawing parallels between the fall of Rome and modern America. However, the execution is chaotic and often incoherent. The narrative unfolds like a visual poem, brimming with metaphors and striking imagery, but deciphering its full meaning would likely require the expertise of an English major.

Adam Driver’s performance as Cesar Catilina is disappointingly one-dimensional. His Shakespearean-style delivery lacks nuance, failing to bring depth to this pivotal character. In contrast, Shia LaBeouf delivers a standout performance, injecting much-needed humor and energy into an otherwise stoic experience.

The film’s aesthetic is a jarring juxtaposition of futuristic innovation and dated elements. While the production design, costumes, hair and makeup are outstanding, creating a visually striking world, the special effects feel outdated. This contrast contributes to the overall sense of disorientation that permeates the viewing experience.

Coppola’s attempt to weave together influences from Roman history, Shakespeare and classical philosophy feels more like an academic exercise than compelling storytelling. While this approach might appeal to film studies enthusiasts, it’s likely to alienate general audiences.

The narrative structure is disjointed, with the storyline feeling like a haphazard collage of spontaneous scenes and images. This scattered approach makes it challenging for viewers to follow the plot or connect with the characters’ journeys. The time-stopping sequences, while visually interesting, come across as gimmicky and fail to contribute meaningfully to the narrative.

One of the film’s few engaging elements is the romantic subplot between Cesar and Julia, the daughter of his nemesis, Mayor Franklyn Cicero. This personal conflict adds a relatable human element to an otherwise grandiose narrative, proving far more compelling than the broader societal and political themes.

“Megalopolis” is overloaded with ideas, but none carry much weight due to the film’s chaotic presentation. It offers plenty of criticism but fails to propose any solutions. The film’s political undertones, drawing parallels between the fall of Rome and contemporary American politics, feel particularly relevant given the current election.

While “Megalopolis” deserves credit for its artistic ambition and the risks it takes, it ultimately fails as a piece of entertainment. Its beauty and complexity are buried beneath layers of obscurity that most viewers will struggle to penetrate. The film’s nearly 2 1/2-hour runtime feels taxing, with the conclusion bringing more relief than satisfaction.

In the end, “Megalopolis” encapsulates its own message in a quote from Cesar: “We’re in need of a great debate about the future.” Indeed, this film may spark debates about the nature of cinema and societal progress, but it’s unlikely to satisfy those seeking a coherent and engaging movie experience.