# The Mystery of *Megalopolis*: Francis Ford Coppola’s Grand Misstep
Francis Ford Coppola, the acclaimed filmmaker known for iconic works such as *The Godfather* and *Apocalypse Now*, has made his return to theaters with his long-gestating dream project, *Megalopolis*. Instead of being celebrated as a glorious comeback, the film has been largely criticized as a perplexing and chaotic blunder. With a production journey as intricate as the film itself, *Megalopolis* has left viewers and critics scratching their heads, questioning how a director of Coppola’s stature could create something so perplexing.
## A Production Full of Struggles
The tale of *Megalopolis* is one of determination, ambition, and ultimately, miscalculation. Coppola first envisioned the film in the 1980s, but it remained stalled in development limbo for years. After many aborted attempts, Coppola finally commenced filming in the early 2020s, funding the project himself with an estimated budget of $136 million. The script, which underwent an astonishing 300 revisions, showcases the director’s fervent commitment to the project. However, such continuous modifications may have led to the film’s downfall, resulting in a final product that feels fragmented and over-analyzed.
## The Synopsis: A Roman Saga in Contemporary America?
Essentially, *Megalopolis* is portrayed as a “Roman Epic set in an imagined Modern America,” as per Lionsgate’s promotional materials. The narrative unfolds in New Rome, a futuristic iteration of New York City, where Giancarlo Esposito portrays Mayor Cicero, a corrupt and avaricious politician. He comes into conflict with Cesar, an idealistic architect played by Adam Driver, who aspires to create a utopian city using a novel material known as Megalon. While the film’s storyline serves as a loose metaphor for the power struggles of ancient Rome, its execution is anything but lucid.
Driver’s Cesar resembles a Robert Moses-like figure, fixated on transforming the urban environment, while Esposito’s Cicero embodies the entrenched political hierarchy. The primary clash centers on their rivalry for the future of New Rome, but the plot frequently derails due to odd character decisions, erratic monologues, and baffling plot developments.
## A Talented Ensemble, Yet Lacking Focus
One of the foundational principles of Hollywood is that the caliber of a film is often inversely related to the number of high-profile actors in the cast. *Megalopolis* is no exception to this rule. Apart from Adam Driver and Giancarlo Esposito, the film features a star-studded ensemble that includes Aubrey Plaza, Shia LaBeouf, Laurence Fishburne, Jon Voight, and Nathalie Emmanuel. Despite the star-studded lineup, the performances vary greatly, with some actors appearing uncertain about the film’s tone.
Driver, in particular, presents a portrayal that swings between serious and absurd. At times, he uses a peculiar Foghorn Leghorn-esque accent, and in one particularly awkward scene, he suggestively instructs a character to “go back to the cluuuub,” a line that seems as if penned by someone completely out of touch with contemporary slang. Aubrey Plaza’s character, referred to as “Wow Platinum,” is another puzzling inclusion, as her role appears to exist solely to enhance the film’s surreal quality.
## A Visual and Technical Catastrophe
Visually, *Megalopolis* receives mixed reviews. Coppola initially aimed to utilize state-of-the-art virtual production techniques, but halfway through filming, he reportedly reverted to more conventional green screen methods. The outcome is a film that appears cheap and incomplete, with CGI that is often unintentionally comical. According to *The Guardian*, Coppola intended to steer clear of crafting a “Marvel movie,” yet the end result feels like a weak imitation of what he sought to avoid.
The film’s technical flaws extend beyond the visual aspect. The editing is disjointed, with scenes that seem disconnected, and the pacing is inconsistent. Lengthy, ponderous monologues are intermingled with chaotic action sequences, creating a striking tonal dissonance. The film’s dialogue, often resembling Shakespearean verbosity, feels out of place in a modern context, adding to the overall confusion.
## Online Reactions
It comes as no surprise that *Megalopolis* has sparked a frenzy of online discussion. Social media sites like X (formerly Twitter) have been inundated with responses ranging from confusion to outright ridicule. One user humorously remarked, “laughed a lot at *Megalopolis*, I will grant sometimes intentionally, but I have to say that ‘if the baby is a girl we’ll name her Sunny Hope. And if it’s a boy, Francis’ should be up for Howler of the Dec.”
