Francis Ford Coppola is no stranger to cinematic fame. With films like The Godfather trilogy and Apocalypse Now under his belt, he’s proven himself as a heavyweight in the industry. Now, with Megalopolis, Francis Ford Coppola is stepping into new territory, aiming for a project that’s as ambitious as it is challenging.
Set in the aftermath of a catastrophic event that has left New York City in ruins, the film follows an architect who dares to dream of rebuilding the city as a utopia. It’s portrayed as a tale of resilience, ambition, and the clash between progress and stagnation. Not the typical Hollywood blockbuster with flashy effects and shallow plots; it’s supposed to be a gritty exploration of human nature and societal dilemmas.
The underlying assumption here is that “progress” is inherently good, add to that an architect who wants to build a utopia and one cannot help but evoke echoes of the Tower of Babel. Which may not be that far of the considering an interview Francis Ford Coppola gave to GQ magazine and discussing the success of The Godfather some time ago: “The only way what happened could have happened is if, on that night, after the kid said, ‘Yeah, I guess so,’ and got on his bike, out of the bush, there was smoke and a little guy in a red suit who said, ‘How would you like The Godfather to be one of the most successful movies in history?’… And I said, ‘Well, what do I have to give?’ And he said, ‘You know what you have to give.’ And then he went away and I went to bed in Jimmy Caan’s maid’s room.” “What did you have to give?” I asked. “What do you give the devil?” Coppola asked in return. “Your soul?” Coppola nodded. “Doesn’t he always want your soul?” “That’s a joke,” he said, finally.”
Fascinatingly enough, even though Francis Ford Coppola says he’s only joking, of all the allegories he could use, he chose one about selling his soul to the devil. This doesn’t sound that far-fetched, considering that Hollywood is one massive marketing department for selling Satanic man-made utopias.
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Francis Ford Coppola’s decision to take on multiple roles—both as the director and screenwriter—speaks volumes about his commitment to this project. He’s not just delegating tasks; he’s deeply involved in shaping every aspect of Megalopolis, from its characters’ motivations to the overarching themes that drive the story forward. Megalopolis will have a star-studded cast. Adam Driver takes on the role of Caesar, a character embroiled in the city’s tumultuous reconstruction. Alongside Driver, we have Forest Whitaker as the embattled mayor, Nathalie Emmanuel as Julia Cicero, and Laurence Fishburne as Caesar’s confidant.
Of course, no film is without its challenges, and Megalopolis is no exception. Reports of production troubles, changes in filming technology plans, and key team members leaving have surfaced, painting a picture of a project facing hurdles. However, Francis Ford Coppola has weathered storms before, and there’s no doubt he’ll navigate these challenges to bring his vision to life.
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What sets Megalopolis apart from the typical Hollywood fare is its thematic depth. Coppola isn’t just telling a story for entertainment’s sake; Francis Ford Coppola is using the medium of film to explore questions about human nature, societal structures, and the consequences of human actions. It’s a bold move in an industry often driven by commercial considerations.
Speaking of commercial considerations, Francis Ford Coppola is self-funding his “$100m gamble”. In an era dominated by franchise films and sequels, Megalopolis stands out as a risky venture. Francis Ford Coppola’s ‘Megalopolis’ will have a private screening next week, signaling its completion after post-production in March 2023. Anticipation is for a potential fall 2024 release, possibly in IMAX format. Speculation suggests it may be headed to Cannes for the Palme d’Or contention.
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He sold his soul