99% Invisible: The Flop House - Megalopolis with Roman Mars

Release Date: December 10, 2024

Introduction

In this special episode of 99% Invisible, host Roman Mars welcomes Elliot Kalin, co-host of Flop House, to delve into the intricacies and controversies surrounding Francis Ford Coppola's latest cinematic endeavor, Megalopolis. This collaboration bridges the worlds of design-focused storytelling and the candid critique of cinematic flops, promising a comprehensive exploration of a film that has sparked diverse reactions.

Overview of Megalopolis

Megalopolis is portrayed as a polarizing film that sits at the intersection of ambitious urban utopian visions and the pitfalls of overreaching in filmmaking. Directed by the legendary Francis Ford Coppola, the movie features Adam Driver as Caesar Catalina, a city planner inspired by the real-life figure Robert Moses. The narrative attempts to weave complex themes of power, design, and societal change but has been criticized for its convoluted plot and inconsistent execution.

Characters and Performances

• Caesar Catalina (Adam Driver): Portrayed as a genius city planner with the supernatural ability to stop time, Catalina embodies the archetype of the visionary hindered by bureaucratic constraints. Driver's performance is lauded for grounding the character amidst the film's chaotic elements. Roman Mars notes, "Adam Driver comes out of this movie even more esteemed for his ability to maintain consistency in such a disjointed narrative."

• Mayor Frank Cicero (Giancarlo Esposito): Serving as the antagonist, Cicero represents traditional power structures resistant to Catalina's innovative plans. Esposito's performance is described as "a little hammy," adding a layer of over-the-top dramatics to the role.

• Vesta Sweetwater (Aubrey Plaza): As a pop star entangled in the political machinations, Sweetwater's character is criticized for being underdeveloped, leaving her potential squandered in the film's broader narrative.

• Supporting Cast: The film boasts appearances by renowned actors such as Dustin Hoffman, James Remar, and Laurence Fishburne, whose involvement adds star power but often feels superfluous within the movie's sprawling storyline.

Plot Summary

The plot of Megalopolis revolves around Caesar Catalina's efforts to design an urban utopia using a magical substance called Megalon. The city, New Rome, becomes a battleground between Catalina's progressive designs and Mayor Cicero's populist, profit-driven projects like the Cities Casino. Key events include:

• Press Conference: Catalina introduces his vision without a clear presentation, juxtaposing Cicero's tangible projects against his abstract utopian ideas.

• Personal Struggles: Catalina's backstory involves the mysterious death of his wife, casting a shadow over his character and motivations.

• Assassination Attempts: Catalina is repeatedly targeted, including a pivotal scene where a child assassin attempts to kill him, heightening the film's tension.

• Transformation and Power: After being shot, Catalina's fusion with Megalon grants him enhanced powers, further complicating his role as a visionary leader.

• Climactic Speech: In a pivotal moment, Catalina delivers an abstract speech that fails to resonate meaningfully with the audience, highlighting the film's thematic inconsistencies.

Themes and Insights

Megalopolis attempts to explore grand themes such as:

• Urban Utopia vs. Populism: The clash between innovative city planning and populist demands reflects real-world tensions in urban development.

• Power and Genius: The film scrutinizes the notion of the "great man" theory, questioning whether one individual's vision can overshadow collective needs.

• Magical Realism: The inclusion of fantastical elements like Megalon and time manipulation introduces a layer of surrealism that detracts from the film's grounded themes.

However, critics argue that these themes are not cohesively developed, resulting in a narrative that feels both overambitious and undernarrated.

Visuals and Design

The movie's visual landscape is a blend of striking and inconsistent elements:

• Bio-Organic Architecture: The vision for New Rome includes buildings that grow and adapt organically, symbolizing a harmonious relationship between design and functionality. Roman Mars remarks on this concept, noting its potential if fully realized.

• CGI and Practical Effects: While some scenes, like the sagging Greco-Roman statues in a rain-soaked cityscape, are artistically compelling, others suffer from subpar CGI that breaks the immersion.

• Costume Design: Characters sport a futuristic Roman aesthetic, blending traditional elements with modern fashion, though some costumes feel outdated or mismatched within the setting.

Critical Reception and Personal Reactions

The hosts express a mix of fascination and frustration with Megalopolis:

• Roman Mars: Initially intrigued by the film's ambitious premises, Mars becomes increasingly critical of its execution, particularly the disjointed thematic delivery and problematic underlying ideas. He emphasizes the film's portrayal of populism and genius as dangerously oversimplified.

• Elliot Kalin: Aligning with Mars, Kalin highlights the film's failure to meaningfully engage with its stated themes, describing it as "good bad"—a flawed movie that remains an intriguing watch due to its audacity.

• Stuart Wellington: He compares the film to cult classics or movies with a "Neil Breen" quality—unique but ultimately muddled in their messaging.

Despite its flaws, the movie garners a reputation for being a memorable experience, albeit for all the wrong reasons. The hosts acknowledge that Megalopolis might achieve a form of cult status, with future audiences potentially uncovering "pearls in the morass of sludge."

Final Judgments: Good, Bad, or Interesting?

• Dan McCoy: Labels Megalopolis as "good bad," recognizing its failure as a cohesive film but appreciating its unique audacity and the ambitious vision behind it.

• Stuart Wellington: Finds the movie to be a "mess," yet notes its place in cinematic history as a testament to Coppola's willingness to take risks, regardless of the outcome.

• Elliot Kalin: Echoes the sentiment of intrigue tinged with disappointment, suggesting that while the movie doesn't succeed, it offers elements that are worth experiencing for their sheer ambition.

Notable Quotes

• Roman Mars on Adam Driver's Performance:

  "Adam Driver comes out of this movie even more esteemed for his ability to maintain consistency in such a disjointed narrative." [07:23]

• Elliot Kalin on the Film's Thematic Execution:

  "The speech he gives is so vaporware. It's such empty conceptual nonsense. It does not speak to any of the actual needs." [18:42]

• Stuart Wellington comparing the film to Other Cult Movies:

  "It's a lot like if Neil Breen had directed the Star Wars prequels. It feels like those movies—they're like at least not mass-produced garbage, but it's still kind of like garbage." [82:30]

Conclusion

Megalopolis stands as a bold yet flawed attempt by Francis Ford Coppola to merge visionary urban design with cinematic storytelling. While the film's ambition is undeniable, its execution falters under the weight of inconsistent themes and narrative disarray. The discussion by Roman Mars and the Flop House team underscores the complexities of evaluating passion projects that aim high but miss the mark, leaving audiences with a cinematic experience that is as perplexing as it is memorable.

For those intrigued by the intersection of design, urban planning, and film, Megalopolis offers a case study in the challenges of translating grand ideas into coherent storytelling. Whether it achieves cult status or fades into obscurity remains to be seen, but its conversation-worthy attributes ensure its place in cinematic discourse.

Note: The timestamps provided are illustrative based on the transcript and may not correspond precisely to the actual episode's timing.