“Megapolis” review: as extravagant as it is unclassifiable

There is no easy way – not even one – to understand Megapolisa film that feels like the product of over-ambition and difficulty in its execution. It’s no surprise that this premise, which combines dystopia, drama, philosophy, existentialism and dozens of perspectives on evil, took decades to film. It also forced its director, Francis Ford Coppola, to resort to all his resources. economic and intellectual – to do it.

So there’s a lot of work-in-progress in the film, or pieces of a larger idea put together. In addition, it is necessary to use cinematic language to the most complex extremes. In some sections Megapolis He seems slow, unimportant, or lacks the resources to express much of his ideas. And in others, everything is overly emphasized so as not to leave any doubt about the film’s claim to fame. Whatever the extreme, Megapolis Avoid quick explanations and use of force potential viewer to pay attention to its hundreds of details and moral landscapes.

In essence, the plot is not very complex, although the way it is told is. The city of New Rome is destined to become the capital that marks the destiny of the world. And this despite the fact that the society around her is rapidly collapsing. The director quickly shows this landscape of illusions about to collapse, like a play. Misfortune is hidden as well, a small hope that every effort will bring greater good.

Existentialism and dystopia in Megapolis

After all this, the script, which Coppola is also writing, goes to completely new places. This includes enjoying the baroque visuals, which are a mixture of crude references to futuristic works ranging from Metropolis from Fritz Lang to Brazil Terry Gilliam. The truth is that there is not a single image that is not imbued with the spirit of the desire to dazzle. Or at least be so new that Megapolis impossible to compare with anything.

Therefore, its first ten minutes are a visual and narrative epic. Caesar Catalina (Adam Driver) dreams of a New Rome. Therefore, his point of view is that of a conqueror who is willing to take any risk. The director shows his character’s courage by forcing him to take risks, and this obvious prologue examines how every sense of the future is tied to his approach. city which will be built will be the focus of innovative proposals designed to change the world.

In fact, one could say that Megapolis He has the same impulse. The film has an atmosphere of drama taken to extreme consequences, all against the backdrop of Coppola’s vision of a decadent future. At some points, all this emotional charge – with slow-motion scenes, very long, seemingly random dialogue and shocking images – seems to be the surface of something deeper. But at other times, Coppola’s attempt to tell a transcendent story without being too original becomes slow and even tedious. Moreover, the technical level is sometimes amazing – This is not always accompanied by a corresponding story.

Characters go, characters come.

Part of the problem with the film is that all of its characters, with the exception of Caesar, enter and leave the plot without showing the slightest interest. Mayor Franklin Cicero (Giancarlo Esposito in another of his appearances) has serious doubts that New Rome is anything more than a dream. A point of view that seems to be shared by Claudio Pulcher (Shia LaBeouf) and Wow Platinum (Aubrey Plaza), both interested in pursuing the outcome of construction and betting on its failure.

By far the most interesting character is Julia Cicero (Nathalie Emmanuel), the mayor’s daughter and the immediate emotional highlight of the film. Her love for Caesar gives her the feel of a tragic heroine, which gives the film some of its best moments. In addition, he is one of the few figures with development. So the gallery of heroes and there is not enough evil to cover everything the film shows or tries to show.

Unusual and confusing scenario

In fact, most of the entire announcement in the first minutes leaves precisely the feeling that everything is happening behind the scenes. Or it doesn’t happen at all. The script, which at times reminds us that this is a story about the fall of empires and civilizations, doesn’t seem to know what to do with this premise. Instead, the story is dedicated to showing deep reflection minor characters or reflect on the absurd.

Key to understanding the significance of Fundy Romain (Laurence Fishburne), Caesar’s driver, the obvious voice of reason. But what should be great dialogue – or at least sentences that capture the essence of the film – remains empty word games. Megapolis Much of this is a failure to deliver on the promise of a dense and complex plot. By the second half, when dozens of inexplicable scenes occur, most of them meant to highlight their obvious parallels, the film loses energy. In particular, because it completely unable to close all the unfinished business he left behind.

Author’s eccentric for the history of cinema

In 1984, Sergio Leone released once upon a time in Americahis most personal, strange and atypical work. They started talking about an epic choral drama that would find its audience decades later. And this is essentially due to the fact that this is a story told from the concerns of the director, and not from the usual rhythm of a commercial film. Something similar can be said about Megapolislarge-scale experiment with the whole intention is to mark a before and after in film history.

However, is the work final? — Francis Ford Coppola, fails in scope and depth. While there is a whole study on greed, destructive ambition and even the approach to tragedy and how it changes people, the truth is that there is nothing concrete. The characters spend time and energy talking, although not about themselves, but rather about abstract things that do not contribute much to the plot. So the film moves from scenes in luxurious offices to street gladiator fights.It’s in the middle of an announcement that something terrible is about to happen.

Despite this, Megapolis It will be remembered as an elaborate play that failed to live up to its promises in both story and visuals. But when he succeeds, it is surprising and makes it clear that Francis Ford Coppola had reasons for insisting on a film adaptation of his masterpiece. For better or worse, the director made his dream come true.And it’s as huge as advertised, despite its shortcomings.