FILM: MEGALOPOLIS *1/2

27 September 2024.

By Neptune

MEGALOPOLIS *1/2

It’s sad when a renowned artist loses his touch, his proven talent. At 85, the great Francis Ford Coppola, director of the unforgettable “Godfather” trilogy (the first two were masterworks, the third, a disappointment), and his grandiose “Apocalypse Now”, brought this, his last cinematic extravaganza to Cannes last May and received appalling reviews.

He has written, produced and directed the film himself, having dreamt of creating such an oeuvre already decades ago. So close to his heart, he also financed it with his own money, for this was now to be his final testament to the world. It has unfortunately turned out to be an overdone, overlong tirade on the evils of power, corruption and vicious rivalries in an American city posing as a modern Rome hurtling to its decline.

The sincere intent is there in Coppola’s philosophical cry for more humanity and positive dreams for a redefined future personified in his main character, played by Adam Driver. It also includes occasional visual sparks in its mix of futuristic and Roman decor. But with much overacting by the whole cast (including Driver, Shia LeBeouf, Jon Voight, Dustin Hoffman, et al), a mangled scenario and foolish scenes of debauchery, this allegory on the downward spiralling political state of America (and the world?) often loses its thread in its Felliniesque frenzy.

It has happened to many, with age – such as Visconti and Fellini as filmmakers, Steinbeck and Hemingway as writers, or even Sinatra and Aznavour as singers – when an exceptional artist/creator doesn’t realize he no longer has it. A pity indeed, not to leave while on top.

LES BARBARES ***1/2 (vo French)

(A repeat from last week, as it’s released this week) 

A few years ago…a small town in Brittany is in great excitement as it is to receive refugees from Ukraine. The inhabitants are sprucing up the town and eagerly awaiting the big arrival, with the media called in to record their humanitarian event.

But wait – too many communes around France have volunteered to take care of the Ukrainian refugees, they’re Europeans after all, our own kind. Instead, their town is getting a Syrian family. Oh, zut alors!
And so starts this seemingly light-hearted comedy, by and with Julie Delpy, which is actually a finely-tuned study of the way we look at those who are different from us. It’s her delightful but deeply felt reminder to observe our own human foibles.

With a cast including Sandrine Kiberlain and Laurent Lafitte, who play their roles to the hilt (note Lafitte’s Hitler-like haircut), this is an intelligent hoot!

It seems the French/American Julie Delpy has been in the movie business forever, both as actress and writer/director. Remember the romantic Richard Linklater trilogy (1995-2013) starting with “Before Sunrise” starring Delpy and Ethan Hawke, about a young couple meeting on a train? Now in her mid-50s, she started out as an actress in France in the late ‘70s and has been directed by such notable auteurs as Tavernier, Kieslowski and Holland. She has written and directed more than ten films herself, including this latest one. Check out her extensive Wikipedia page, for Delpy is an international artist of talent and conviction.

Run to this film – you won’t be disappointed.

L’HEUREUSE ÉLUE – (vo French)

In all honesty, I have forgotten what this supposed French comedy was about, but it’s not important, for forgettable films which are also excruciatingly awful, don’t need to be seen.

This is just a short, kind warning. The film (with the usual Michèle Laroque), doesn’t merit more.

Superb **** Very Good *** Good ** Mediocre * Miserable – no stars

By Neptune

Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.

Click here for past reviews.

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