Opening 26 Sep 2024
Directed by:
Francis Ford Coppola
Writing credits:
Francis Ford Coppola
Principal actors:
Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf
Director-writer-producer Francis Ford Coppola gamely pastiches from the annals of history-cum-myths for synonymity of characters and establishes a certain homage-like equanimity to his story. As defined by Merriam-Webster, a megalopolis is “a thickly populated region centering in a metropolis or embracing several metropolises” sharing common resources and systems of transportation, ecology, etc.
The brilliant visionary and perhaps quixotic architect Cesar Catilina (Adam Driver, demonstrating a plethora of emotions) is busily planning a rebuild of old New Rome. He also happens to be its Design Authority Chairman, as well as having the gift of stopping time. His only peace comes in the confines of his Citroën DS car driven by patient, dedicated assistant Fundi Romaine (Laurence Fishburne carefully observing), who is the storyteller as well. Cesar’s nemesis, Mayor Franklyn Cicero (Giancarlo Esposito, as a glib cautionary tale), is friendly on the outside yet exceedingly calculating with “status quo” his motto. Cicero rails against Cesar at every chance, as does his contingent of yea-sayers, e.g., Jason Zanderz (Jason Schwartzman), and his fixer (Dustin Hoffman in a cameo). Franklyn’s wise, nimble-minded wife Teresa (Kathryn Hunter) takes him in stride, whereas his spoiled, rebellious, provocative and uncannily intelligent daughter Julia (Nathalie Emmanuel does an effortless switcheroo from a kissing party girl to supportive compatriot), is rethinking her aims in life. Once she and Cesar get into each other’s sights, they are stuck. For Cesar, though, there is his long-suffering mom (Talia Shire), his stinking-rich, randy and somewhat befuddled Uncle Hamilton (Jon Voight, a measured menacer and looks to be having fun) and rascally, troublemaking cousin Clodio (Shia LaBeouf, weirdly dangerous) vying for attention, plus the sexy, conniving TV presenter Wow (Aubrey Plaza) demanding affection. Somewhere amidst all this hovers the sweet siren Vesta (Grace VanderWaal).
The sci-fi narrative launches into a half-regressive and half-utopian megaregion with its all-star cast quite literally saving the film. Off-kilter as well is Beth Mickle and Bradley Rubin’s production design, e.g., the opening party sequence plays poor second to Babylon’s (2022), the editing is sketchy (Cam McLauchlin, Glen Scantlebury and Robert Schafer), and both set decoration (Lisa K. Sessions), and costumes (Milena Canonero) are ho-hum. Mihai Malaimare Jr.’s cinematography and Osvaldo Golijov’s score are fine. Coppola’s narrative gets tangled in its own threads: too many characters go in too many directions in a too long movie. A tighter timeline and fewer characters vying for attention might have made the difference. (Marinell Haegelin)
