Megalopolis review: A wildly ambitious – if flawed – look at power and avarice

Megalopolis review: A wildly ambitious – if flawed – look at power and avarice
4.0 out of 5 star rating

At long last, Francis Ford Coppola’s long-cherished venture, Megalopolis, makes its grand entrance on the competitive stage of the Cannes Film Festival.

Originally conceived by the renowned director of The Godfather and Apocalypse Now in 1977, this project is an audacious exploration of power and greed, drawing parallels between contemporary America and the architectures of ancient Rome.

In the lead role, Adam Driver stars as Cesar Catilina, a visionary architect dreaming of constructing a city-wide utopia called Megalopolis. However, realizing this ambitious project may require confronting numerous adversaries who plot his downfall.

Located in a city reminiscent of New York’s Chrysler Building, Catalina envisions creating “a city that sparks dreams among its inhabitants.

His talents surpass the ordinary realm of construction; he possesses an extraordinary capability to manipulate time, and Megalopolis shall arise not just from bricks and mortar, but from ‘megalon’, a distinctive material that raises concerns for some as potentially hazardous.

At some point, the young singer Vesta Sweetwater, reminiscent of Taylor Swift, dons a gown fashioned from a delicate, gleaming fabric. She sings plaintively, “I’m completely transparent.” Sometimes, the bustling city of Megalopolis seems equally hard to grasp.

Is it implied that Catalina prioritizes the nation’s welfare? Mayor Franklyn Cicero, portrayed by Giancarlo Esposito in Breaking Bad, describes him as “the most likely man to have been hanged,” indicating his suspicion or strong dislike towards him. This suspicion arises because Julia, the mayor’s desirable daughter played by Nathalie Emmanuel, has attracted Catalina’s attention.

Apart from him, there are also individuals like Clodio Pulcher (portrayed by Shia LaBeouf), a character known for his lavishness and flamboyance, who at some point dons a toga and gold high-heels. Additionally, there’s Hamilton Crassus III (played by Jon Voight), a wealthy bank owner, initially interviewed by Wow Platinum (Aubrey Plaza), a tenacious TV reporter and ambitious social climber.

In Megalopolis, there’s a hint of the essence found in Citizen Kane, as the protagonist played by Driver shares some striking similarities with Charles Foster Kane, the newspaper tycoon from Orson Welles’ groundbreaking film.

In a different wording: Instead of being as impressive, Coppola’s work can’t be criticized for its bold creativity. At certain moments, this movie takes a daring leap into live, interactive theatre. During these instances, the screen contracts, zeroing in on Driver’s face. At the screening I attended, an auditorium light illuminated and an actor entered the stage, standing before the screen with a microphone.

This is quite an unusual yet exhilarating instance. Is it something that will occur in every forthcoming performance? That’s uncertain, but it’s undeniably a remarkable display of skill and flair.

Through breathtaking point-of-view shots of chariot races and decadent Bacchanalian festivities, Coppola effectively portrays the city as Rome, hinting at its decline during the final days of an unstable empire.

Some might find the conversation a bit challenging, as it incorporates phrases reminiscent of William Shakespeare, such as when the character references Hamlet’s famous soliloquy, ‘To be, or not to be.’

The depicted scenario is quite distant from social realism, yet it manages to captivate one with its dreamy romanticism. A prime example being the scene where Cesar stands atop girders, towering above the city, as he shares a tender kiss with Julia; simultaneously halting time and causing a cluster of flowers to freeze in mid-air, suspended in motion.

The movie doesn’t seamlessly flow together, as the acting varies significantly (for instance, LaBeouf is excessively flamboyant, while Driver portrays a gloomy character). Yet, considering the film stars an Elvis impersonator and Jon Voight discussing his “erection,” it’s hard to anticipate anything different.

The movie concludes with a poignant ending, honoring Coppola’s beloved wife Eleanor, who passed away in April, during the final stages of film production. If this is indeed Coppola’s last film, he has demonstrated the commitment of an artist to his vision, much like Driver’s character Cesar, right up until the very end.

Megalopolis is coming to UK cinemas soon.

2024-09-27 17:33

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