THE STORY – A behind-the-scenes documentary about the making of Francis Ford Coppola’s Megalopolis (2024).
THE CAST – Francis Ford Coppola, Eleanor Coppola, Talia Shire, Jon Voight, Shia LaBeouf & Aubrey Plaza
THE TEAM – Mike Figgis (Director)
THE RUNNING TIME – 107 Minutes
I can still vividly remember the moment. There was a palpable excitement in the air as Francis Ford Coppola, one of the greatest and most renowned living directors, was about to unveil his latest creation. The gestation period of “Megalopolis” had been so long that it had reached legendary status. Everyone was curious about what the final results of this project could be. I remember being somewhat skeptical that we were about to see a masterpiece. However, I was still very intrigued and delighted to be getting a new film from one of the last living directors from a golden era of filmmaking. That initial screening at the Cannes Film Festival left many confused and bewildered. Some outright rejected the film, others appreciated its ambition. No matter what, it was an unforgettable experience that continued to be an arresting experience for anyone who witnessed it. Obviously, questions abound when considering how such a film came into fruition. What decisions could have possibly led to what we all ended up seeing? “Megadoc” attempts to provide insight into the process that went into creating this work. It showcases a frustrating but enlightening perspective, even if it stops short of a more profound analysis.
If you don’t recall the release of Coppola’s very expensive, self-funded passion project from last year that critics and audiences widely rejected, not many will blame you. Its polarizing reception and limited theatrical release ensured it would be buried in the culture. However, there is a fascination to understand how such an oddity came to be dreamt of, and what steps were taken to craft such an intriguing mess. Early on in the production, Coppola invited director Mike Figgis to make a documentary, capturing footage of the pre-production and filming that would provide a glimpse into the world he was attempting to manifest. Figgis manages to document both the highs and lows of this production. There are the free-spirited rehearsals that play more like acting exercises, and the excited conversations of the crew that are preparing to construct this fanciful world are all beaming with excitement. But there are also the mounting frustrations of trying to convey a muddled vision from a filmmaker who can easily slip into combative fits with those who can’t deliver what he wants. What is seen is a messy and chaotic operation that seems doomed to fail, but every piece that is seen along the way represents a fascinating discovery.
Given the fraught history of the tumultuous road that led to “Megalopolis” finally being released, getting any peek behind the curtain comes with an exhilarating sensation for anyone with even the slightest bit of curiosity about this endeavor. At first, you yearn for something akin to the glory days of DVD special features, with an in-depth behind-the-scenes featurette that shows a window into the creative elements being assembled. We are treated to some of that exposure. It’s exciting to see four-time Oscar-winning costume designer Milena Canonero assemble the fabrics together that would become the striking clothing on display (as well as her own exacting nature of approving all the extras who are privileged to wear her garments). We see some of the visual effects work, overseen by second unit director Roman Coppola, and how experimentation led to a desire to perform as much in-camera as possible. There is a litany of details that are catnip for cinephiles that give a greater understanding of the work that goes into creating a feature-length movie. Maybe the most alluring is to see old test footage of actors from twenty years ago who were considered for these parts. One can only imagine this version, made in the mid-2000s, that had Ryan Gosling in the Shia LaBeouf role, and we get to see a brief reveal of what that might have looked like.
However, those glossy aspects are not the only particulars being examined. The more compelling commentary is the argumentative and antagonistic relationships that develop over the course of this long production, notably between Coppola and Shia LaBeouf. There are numerous scenes of the two men arguing about the motivations of characters and the intentionality of blocking, down to the smallest of details, and it reveals the fraught working conditions that have plagued the film. Emergency meetings are called with the heads of departments, and the exasperated crew venting their frustrations with a director who can’t quite communicate his vision is such an eye-opening moment. It’s easy to dismiss these events as signs of a troubled shoot that was never set up for success. However, every effort to make a film, especially one with headstrong creatives attached, always has difficulties. While this one had more than most, it’s generally a side that audiences are privy to viewing because studio-produced documentaries always show everyone getting along. Not everyone does, and despite the intense words that are shared, there is an appreciation for the difficult conversations that are had when trying to bring a creative vision to life. No one is arguing that the process here was smooth or didn’t need improvement, but making a movie is one of the hardest tasks to achieve, and showcasing those challenges is an engrossing perspective.
At the same time, there is plenty left unsaid that Figgis captures within this narrative, which undermines the ultimate impact. Some are beyond his control, like certain actors not wanting to participate in the process. Adam Driver was resentful of being filmed on set and was only allowed for a single interview, but his absence is notable for such an influential figure, given his role in the actual film. The resigning of significant crew members is mentioned, but not really given a thorough analysis of the terms of their leaving. And of course, nothing is made about the harassment allegations made against Coppola by members of the ensemble. Not even acknowledging this topic is incredibly disappointing and shows that, despite an effort to give a warts-and-all presentation, some of the most damning stories about this operation have gone unnoticed. Figgis ends the film with the Cannes premiere, as if to signal the triumphant finale to a difficult but rewarding journey. Yet, the moment feels hollow and rushed in its conclusion. The camera does not film any of the post-production work or lead up to the film’s release, leaving an entire third act to fizzle out to a somber whimper by the end.
At the very beginning of “Megadoc,” Coppola contemplates the risk of investing so much of his personal fortune in this project. He laments that being broke is not a concern of his as long as you can create something beautiful. Many will argue that this specific objective was not accomplished with “Megalopolis.” Regardless of one’s own personal feelings on that front, getting to see the pieces fall into place, or out of place for that matter, is an incredibly alluring enterprise. It’s quite the thrill to view these intimate spaces, watching the difficult improvisations play out and even seeing the moments that devolve into bitter and tense arguments. It’s a very captivating display, but it does stop short of being more impactful because this portrait still feels incomplete. Sections of this story are missing to give an even broader context, and that means the more powerful message of what really went into making this picture ultimately is muted. However, for anyone who looked upon this enormous undertaking and wanted a bit more information, there is plenty here to satisfy.
