Suited to the term “megalopolis,” Francis Ford Coppola’s movie by that name reflects a grandiose, classical conceit. But does it work? Well, that might depend on where you come from. In creating a fable about a quest for utopia within a world that bears similarities to both New York City of today and Rome before it fell, Coppola explores issues that gain significance for an aging population and have haunted philosophers for centuries. At the same time, this quest for an ideal society addresses matters relevant to current politicians—not really the stuff of a box office friendly Marvel or D.C. comic universe and not a topic that ever results in satisfying answers. By going outside typical fan fodder and addressing convoluted issues, Coppola enters a maze that inevitably takes wrong turns and requires patience. The reward includes visual marvels, a trait expected from director of The Godfather—usually listed as one of the greatest movies ever made. Special effects toy with Manhattan icons like the Chrysler Building and Statue of Liberty for their eye-catching splendor and symbolic messages. Headed by Adam Driver, cast members play outrageous with the magnetism that cameras adore, delivering dialogue in line with Shakespeare and other worlds rather than everyday speech. As such, Megalopolis runs its own course, never much kowtowing to populous demands. In a previous time, Megalopolis could imitate Stanley Kubrick’s 2001 and lure an audience happy to look at other dimensions. Ultimately, it could turn out more like Copp
ola’s own Apocalypse Now, waiting for time to give it appropriate resonance. A few missteps aside, Megalopolis arrives as a challenge to the time it so seriously requires to consider and contemplate.
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