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Megalopolis Has Already Won
Francis Ford Coppola has created a movie we can all fight over. In that sense, maybe he has in fact achieved his dream.
And while it would be easy to dismiss as the bizarre rantings of an out-of-touch, over-the-hill artist lost in his own ideas and surrounded by yes-men, the intensely personal nature of the film, the way it mixes raw sincerity with an unabashed goofiness, forces one to look deeper. Watch his wife Eleanor’s great documentary, Hearts of Darkness, about the making of Apocalypse Now, and you’ll see, at the center of that legendarily chaotic, multimillion-dollar epic, someone who is, at that moment, the loneliest man in the world. But that won’t stop us from talking about it — whether it’s about form, or the wild risks of spending one’s own money on a crazy dream project, or the feasibility of live cinema, or whether the director has lost his marbles, or if critics can be trusted.
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