The Story of Francis Ford Coppola’s Four-Decade-Struggle to …

This past sum­mer, out came a trail­er for Mega­lopo­lis, the movie Fran­cis Ford Cop­po­la has spent half of his life try­ing to make. It took the bold approach of open­ing with quotes from reviews of his pre­vi­ous pic­tures, and not pos­i­tive ones: when it was first released, Rex Reed called Apoc­a­lypse Now “an epic piece of trash,” and even The God­fa­ther was “dimin­ished by its artsi­ness,” at least accord­ing to Pauline Kael. But film-crit­i­cism enthu­si­asts smelled some­thing fishy right away, and it took only the barest degree of research to dis­cov­er that not only had Reed and Kael (who liked The God­fa­ther, as did most every­one else) nev­er used those phras­es, none of the quotes in the trail­er were real.

All this evi­dence of crit­ics per­pet­u­al­ly fail­ing to grasp Cop­po­la’s visions seems to have been fab­ri­cat­ed with an arti­fi­cial-intel­li­gence sys­tem. This was a piece of bad press Mega­lopo­lis could’ve done with­out, sto­ries of its trou­bled pro­duc­tion hav­ing been cir­cu­lat­ing for months. But then, Cop­po­la has endured much worse in his long film­mak­ing career, like the hell­ish, enor­mous­ly pro­longed shoot­ing of Apoc­a­lypse Now, or the fire-sale of Zoetrope, the stu­dio he found­ed, after the box-office dis­as­ter of One From the Heart. That he was able to get Mega­lopo­lis into pro­duc­tion, let alone com­plete it, counts as some­thing of a tri­umph in itself.

The Be Kind Rewind video above recounts the sto­ry behind Mega­lopo­lis, in essence “a sto­ry about Cop­po­la him­self, informed by his own ambi­tions, set­backs, times of for­tune, and times of loss.” When he com­plet­ed the first full draft of the script in 1984, he could have had no idea of what lay in store for the project in the decades ahead, not least its numer­ous derail­ments by his own per­son­al and pro­fes­sion­al crises as well as large-scale dis­as­ters like 9/11 and COVID-19. The result, at a cost of $120 mil­lion Cop­po­la raised by sell­ing off part of his win­ery, is a spec­ta­cle that med­i­tates on civ­i­liza­tion, moder­ni­ty, and utopia that, even this ear­ly in its release, has drawn reac­tions of aston­ish­ment, deri­sion, and — most com­mon­ly — flat-out mys­ti­fi­ca­tion.

The film “alter­nates grandiose rhetoric about gov­ern­ment and the mod­ern city with bor­der­line screw­ball com­e­dy, quotes Mar­cus Aure­lius and oth­er ancient thinkers, papers over sto­ry gaps with sonorous nar­ra­tion by cast mem­ber Lau­rence Fish­burne, and fills the screen with super­im­po­si­tions, split-screen mosaics, and images that aren’t meant to be tak­en lit­er­al­ly,” writes Rogerebert.com’s Matt Zoller-Seitz. “Movies like this only seem ‘indul­gent’ because we’re so deep into the era where every­thing has to be unmit­i­gat­ed fan ser­vice, the cin­e­mat­ic equiv­a­lent of cook­ing the Whop­per exact­ly how the cus­tomer dreamed about order­ing it.” Mega­lopo­lis is, in Be Kind Rewind’s final analy­sis, “the apoth­e­o­sis of auteurism, unre­strained spec­ta­cle that ampli­fies Cop­po­la’s best and worst instincts on a mas­sive scale.” Per­son­al­ly, I can’t wait to see it.

Relat­ed con­tent:

Fran­cis Ford Cop­po­la Breaks Down His Most Icon­ic Films: The God­fa­ther, Apoc­a­lypse Now & More

Fran­cis Ford Coppola’s Hand­writ­ten Cast­ing Notes for The God­fa­ther

George Lucas Shoots a Cin­e­ma Ver­ité-Style Doc­u­men­tary on Fran­cis Ford Cop­po­la (1969)

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

Is Amer­i­ca Declin­ing Like Ancient Rome?

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.