Welcome to Megalopolis?

Megalopolis is a movie I was dreading since it hit my radar screen. It was a 40-year passion project from Francis Ford Coppola, and you don’t get a blank cheque to make whatever you want unless you’ve gained a reputation. But even amidst that, the production kept me uneasy. And now that it’s debuted to mixed reception, even with a standing ovation at Cannes, my concerns feel validated. I’m unsure how to react.

I shouldn’t overplay how much of a nightmare the production of this movie was. One of the cast members had sexual assault allegations well before shooting had started. Another cast member hadn’t been in a movie of note for over a decade, as well as gained the ire of many for his political views. And then there was Coppola. For a man of such high reputation, many people outside of the actors called him inappropriate and childish.

Now, many high-profile movies were made by gross individuals. Some of my favourite films are soiled by that. But in a post-Me Too age, where abuse and predation have surfaced everywhere, you’d think someone like Coppola would dial it down a bit. Especially since people consider him in high regard. But I guess we make exceptions for the “Film Brats”. And as someone with a Me Too story, this upsets me.

I could be over-projecting, as I haven’t seen Megalopolis. For all I know, I could end up liking it! Yet the stories I’ve read and heard don’t sit well. Especially since Coppola appears to have driven away anyone who wasn’t the main cast with his antics. That doesn’t exactly make me happy.

Some of you might be wondering how this is if Cannes gave it a standing ovation. For one, that isn’t so impressive when you look at what they gravitate to. And two, so what? Remember, Cannes gave a standing ovation to Roman Polanski for his movie on Alfred Dreyfuss. Yes, Dreyfuss’s story’s worthy of being told. But no, Polanski’s the wrong person for that given his own history of criminal behaviour. Cannes might have “prestige”, but they’re not gospel.

It's especially true considering the controversies Cannes has been entangled with. The festival has had indecent exposures, obscene gestures and fights break out, not to mention their sexist dress attire. Most-noteworthy is that some of their screenings lacked warnings for scenes of brutality and rape, leading to an infamous walkout in 2003. With this in mind, I’d take Cannes praising something with a grain of salt. It’s healthier that way.

Additionally, some passion projects…don’t pan out. It’s unfortunate, and I can’t claim to be an expert on why, but it’s a reality. Not every passion project is good, and doubly-so when in production for decades. We can’t expect The Tale of the Princess Kaguya-level work each time, even with a veteran. That shouldn’t stop people from pursuing their dreams, but it happens. Megalopolis is one of the passion projects that didn’t work, and I’m sorry it didn’t. At least, I’d be sorrier if the production and director’s behaviour hadn’t been a nightmare...

I don’t mean to kill the vibe. I want passion projects to succeed, namely because the people making them care. I’m also not averse to passion projects. I’ve liked plenty of movies from new and beloved directors who’ve poured their heart and soul into them. Megalopolis is also the kind of venture that, as a writer and fellow artist, I want to endorse. But when the experience doesn’t sound fun, the production’s riddled with issues, the director’s a creep, multiple cast members have scandals and the reviews are less-than-stellar, well…what does that leave me to be excited about? I genuinely want to know!

I also acknowledge that my attitude has evolved in the almost-9 years I’ve been writing on The Whitly-Verse. Initially, I’d have used “separate the art from the artist” to still enjoy movies without thinking of the ramifications. Not only was I not ready to acknowledge my childhood trauma, but I had some growing up to do. Because, truthfully, it’s impossible to completely distance the artist from their work. And when you can directly influence the trajectory of bad behaviour in Hollywood by not supporting it, I think you should try. Even when one of Hollywood’s greatest is involved.

It's equally possible that I might be saying this because the movie’s been harshly reviewed, or because I have no real attachments to Coppola. After all, I’ve enjoyed the Avatar films, which were directed by someone with a short temper and a massive ego. But while I understand this inconsistency, I never said I loved the movies themselves. Nor do I love James Cameron’s filmography, even the entries I’m “allowed to enjoy”. Remember that.

While it’s personal, I’m not eager to watch Megalopolis. That doesn’t mean I should stop you from watching it, I’m not your parent, but I’d like my decision to be respected. I’m human, and I have my emotional limitations. And in this case, there’s too much I’d be risking mentally by supporting the film. Even when Francis Ford Coppola’s the director.