Megalopolis

Is there a magic number for how many ideas and characters can fit within the boundaries of one feature-length movie? Is there a finite number of angels that can dance on the head of a pin? Although the answers to these questions are unknown abstractions, it is evident that Francis Ford Coppola has surpassed the acceptable boundaries in his long-simmering, swing-for-the-fences passion project Megalopolis. Yet, as the maker of at least four of the best movies in American cinema history (The Godfather, The Godfather: Part II, The Conversation, Apocalypse Now), no one is more deserving of taking this shot. Megalopolis strains and even occasionally groans under the weight of all its trappings, but, oh my, I swear that in the midst of the chaos you can catch the flickering outlines of Coppola’s angels dancing. And it really is something to behold.

With Coppola’s name above the title and the words “A Fable” below it, Megalopolis is fairly viewed as the sole invention and reflection of its writer/director. The film is a story about society, creation, history, and the future. Its characters are embodiments of various ideas and themes rather than fleshed-out human beings with backgrounds, motivations, and the like. The central figure of Cesar Catilina (Driver), a genius architect and futurist who battles the powers that be to bring his ideas to fruition, is certainly, among other things, a manifestation of Coppola’s careerlong history of standing up for his visions in the face of studio pushback and often, literally, going for broke. After decades of pondering this film and trying to get it financed, Coppola struck out on his own, self-financing Megalopolis, which at the age of 85 could be his culminating work.

Set in a city called New Rome, the landscape of Megalopolis replicates New York City with chariot races and debauchery in Madison Square Garden and an opening scene in which Catilina steps out onto a top ledge of the Chrysler Building and stops time. (Time transmogrification is also one of the movie’s themes and also one of Coppola’s recurring motifs, represented vividly in such films as Peggy Sue Got Married and Jack.) Catilina has developed a new substance called Megalon, a miracle building material with which he plans to build a new utopia. His plans place him at odds with New Rome’s Mayor Franklyn Cicero (Esposito), who wants things to stay as they are. Cicero’s daughter Julia (Emmanuel), however, falls in love with Catilina, sparking a Romeo-and-Juliet romance that accentuates the film’s Shakespearean influences. Further thematic strands include the history of the politician Catiline who tried to seize control of Rome in 63 BCE; Robert Caro’s biography of Robert Moses, The Power Broker; the thuggery of modern politics; Coppola’s own vast filmography; and so much more.

Even though the film is a jumble that oftentimes leaves its top-notch cast unmoored and renders its science-fiction elements somewhat anemic in light of our current expectations from special effects, Megalopolis is truly one from the heart, an outpouring from one cinephile to his tribe.

This film was reviewed at Fantastic Fest 2024.