15/19
Coppola abandoned the project altogether in 2007
Scenario
The city of New Rome faces a duel between Cesare Catilina, a brilliant artist who advocates for a utopian future, and Franklin Cicero, a greedy mayor. Among them is Julia Cicero, whose loyalties are divided between her father and her lover. Francis Ford Coppola wrote the screenplay in the early 1980s, but the film was delayed in part due to his financial debts. Pre-production finally began in 2001 with 30 hours of second unit footage and table readings with Paul Newman, Uma Thurman, Robert De Niro, James Gandolfini, Nicolas Cage, Leonardo DiCaprio, Russell Crowe, Edie Falcon and Kevin Spacey, but the project was scrapped after the 9/11 attacks because a scene in the script (page 166) "predicted" attacks. and started creating it again only in 2019. There are many moments in the film where hand movements jump between cuts. Hamilton Crassus III: What do you think of this Boner I you have?
Performed by Grace VanderWaal
"The Ultimate IMAX Experience" in the film version, the actor asks questions during a filmed press conference.. Link to The John Campea Show: Adam Driver directs Francis Ford Coppola’s new film Megalopolis (2022). “My Promise” Written by Grace VanderWaal. The Columbia Records program with Sony Music Entertainment was produced and orchestrated by Kris Kukul. On the other hand, this movie has some interesting ideas and visuals, but some ideas never develop and some visuals feel out of place. It’s hard to see what Coppola’s intention was with this film. He seems to have decided not to focus too much on the characters, but on the themes.
work as well
However, some scenes suggest that the audience should empathize with the characters, but no one just can. One of the reasons for this is the pace of this film; it somehow manages to be fast, but feels slow, and that might be because some of the scenes are boring. If we remove all misleading character development, what remains is misleading idea development. Megapolis bombards you with interesting ideas, but since there are quite a few of them, none of them grow into a solid conclusion. As I mentioned, it’s hard to see where Coppola was going with all of this. If his intention was to go against the classic narrative structure and challenge the audience with a different narrative, it failed. Some scenes are clichéd and the overall structure feels like a mix of 50s and 90s scenery.
But it just doesn’t feel right
One interesting thing that movies often do is plant a seed that sometimes doesn’t grow—it stays in that scene and then moves on to the next. This method of storytelling is misleading and confusing to most viewers and would probably work better if the technique had a solid foundation throughout the film. David Lynch once said that you can make any movie, any art you want, as long as it feels right. His films are weirder and harder to understand than Megalopolis, but watching Lynch’s work doesn’t make you feel confused, everything feels right, no matter how strange. Sometimes Megalopolis feels right, sometimes it doesn’t. Megapolis is a good example of how a director’s stylistic touch affects the look of a film. This movie was shot by the same person who shot The Master.
I will definitely watch this movie again in the future, all jokes aside
But this movie feels like any expensive commercial today – too bright, too warm, too simple. There’s a quality to this movie that I couldn’t appreciate the first time I watched it. All in all, it’s a little sad that this is Coppola’s last film, but I’m sure she doesn’t regret making it. After all, this is the guy who made Apocalypse Now, and I will forever respect him for his contribution to American cinema.