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Re: Megalopolis (Francis Ford Coppola, 2024)
Pues si. De momento de "nosotros solo negociamos los derechos para su exhibición en salas, nada más" no salen. Los de Tripictures, digo.Iniciado por Dr. Morbius
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
Yo no daria aun por perdida a TriPictures.
Dejemoslo estar ahi, por el momento.
Re: Megalopolis (Francis Ford Coppola, 2024)
Para UHD si. Para edición bonica en Blu-Ray puede que aún haya esperanza. Pero no editaron The Fabelmans, ¿no?
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
¿Fablemans no es de Diamond Films?
Porque Diamond Films no saca nada en formato fisico.
Re: Megalopolis (Francis Ford Coppola, 2024)
Ah, perdón. No sé por qué tenía en la cabeza que Tripictures había distribuido lo último de Spielberg aquí.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
SPOILERS
I’ve seen MEGALOPOLIS twice. I walked–or, more accurately, bounded–out of the theater after the first time, smiling. After the second, having loved it even more, I knew it was well on its way to being a favorite. (I’ve pre-ordered the 4K UHD disc. Can’t wait.)
What is the film for me? It’s Francis’s heartfelt, apologetic, and urgent letter to his wife Eleanor written in a cinematic love language shared between them. She was his anchor, keeping him from drifting into the rocks during his stormiest times. He’s apologetic because he often thanked her by cheating and otherwise treating her badly. It’s urgent because, after spending decades trying and failing to put these thoughts into words and images, he, like Cesar, was running out of time. Eleanor’s health was failing.
True, the film often feels rushed, half finished, as if his infamous rehearsal improvs were adopted as finished scenes, or as if he grew impatient with special effects pros and decided to go DIY. (I love the handmade feel of the visuals. They’re very ONE FROM THE HEART. And I’ve always been a fan of improvised moments such as the make-believe tug-of-war between Cesar and Julia.) His hurry was to make sure Eleanor got a chance to see it before passing away. Her reaction, “Francis. You did it!”
I imagine that shared moment, knowing she understood and appreciated his gesture, was worth his every last dime to him. You could say that, just as TWIXT was an entire movie dreamed up to hold one amazing shot expressing his pain over the loss of his son and his casting of his daughter Sofia in THE GODFATHER PART III was a means to send himself, through Michael Corleone, a warning about sacrificing his family for his business, MEGALOPOLIS is an elaborate film designed to hold a dedication to his wife.
I don’t think I’m off base:
Coppola has often and obviously used his characters as avatars. Michael Corleone, Harry Caul, Willard, Hank, Rusty James, Peggy Sue’s husband Charlie, Preston Tucker, Dracula, Jack, and now Cesar are all thinly disguised versions of Francis.
As described in the recent Sam Wasson quasi-biography THE PATH TO PARADISE, Coppola’s career arc began with experimental films like THE RAIN PEOPLE until financial failure forced him to play in the Hollywood sandbox with the GODFATHER films. Things got out of hand, though, almost destroying him during the making of APOCALYPSE NOW. He recovered, forever changed, and learned to chase his dreams with ONE FROM THE HEART leading to RUMBLE FISH, TUCKER: THE MAN AND HIS DREAM, his deeply personal and lovely trilogy about writers trying to complete their masterwork consisting of YOUTH WITHOUT YOUTH, TETRO, and TWIXT, and finally completing his own, to him at least, greatest work, MEGALOPOLIS.
As told by Eleanor in her published journals, most famously for APOCALYPSE NOW, she was there through all of it and much of it was hellish. It was an ongoing tug-of-war. Stay with him or take the kids and leave. Her avatar is Julia. And MEGALOPOLIS is an allegory of their bumpy journey together. Early dreams of utopia that Cesar shares with Julia (but that she can only see if she closes her eyes because they are still but mere dreams). Efforts to gradually realize his vision within the rules of New Rome, one demolished building replaced with Megalon at a time. Things getting out of hand to the point of nearly destroying him during Wow’s wedding. With Julia’s encouragement, Cesar learning to follow his heart amongst hanging girders (yep, that lovely scene is ONE FROM THE HEART).
His relationship with Julia blossoming and the film (after getting stuck and burning up in the projector gate) flowering as well into something different, almost Abel Gance-like with triple split screens, superimpositions, irises, and gorgeous, unabashedly old-fashioned matte paintings reminiscent of METROPOLIS and THINGS TO COME. The film ends with sentimental, optimistic hopefulness with New Rome and its horrors forgotten. (I think the naiveté is intentional. Coppola battling cynicism. He wears his political leanings beyond his sleeve.)
Finally, I think MEGALOPOLIS is about Francis and Eleanor’s complicated relationship because many of the films Coppola has listed as influences are about just that. PYGMALION, THE RED SHOES, CEASAR AND CLEOPATRA, CITIZEN KANE, EYES WIDE SHUT, and BEAUTY AND THE BEAST (1946), the last two being explicitly about marriage, one jealous, the other sacred. While Julia begins to fall for Cesar after closing her eyes and sharing in his vision and their relationship is consummated while kissing on a hanging girder, their relationship begins during a now oft-quoted scene. All I need say is “CLUUUUUB.” Memes seldom acknowledge, though, that the scene is quite interesting, even pivotal. The dialog is lifted, barely modified, from THE RED SHOES and PYGMALION and Julia enters Cesar’s office cloaked like Belle when she first meets the Beast in Cocteau’s masterpiece. And Cesar’s dismissal of Julia turns to fascination when she brings up T-symmetry, wondering if time reversal is possible.
Just as Cesar would love to travel back in time (like Peggy Sue forging a different marriage with Charlie in PEGGY SUE GOT MARRIED) to when dreams of utopia hadn’t been laughed out of society to be replaced by expectations of dystopia, THINGS TO COME pushed aside by BLADERUNNER, something he begins to realize with Julia’s help, Francis wishes he could turn back the clock and experience the film career he originally desired. One where THE RAIN PEOPLE and THX 1138 were successful, his original American Zoetrope studio in San Francisco became the home base of his dreams, THE CONVERSATION still became THE CONVERSATION, APOCALYPSE NOW was directed by George Lucas, and TUCKER: THE MAN AND HIS DREAM was a musical. And, more than anything, one where he spent more time with his kids and Eleanor.
Última edición por Branagh/Doyle; 24/10/2024 a las 20:24
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Megalopolis (Francis Ford Coppola, 2024)
Yo creo que como se ha indicado, Coppola ha sido sensorial en alguna escena y usa recursos algo demodés algunos no han querido no entender la historia.
No sé, por esa regla de tres habría mucho cine ininteligible.
Saludos
Q: "I'm your new quartermaster"
007: "You must be joking"
_______________________
CLAUDIO: "Lady, as you are mine, I am yours"
_______________________
EISENSTEIN: "I'm a boxer for the freedom of the cinematic expression" -"I'm a scientific dilettante with encyclopedic interests"
Re: Megalopolis (Francis Ford Coppola, 2024)
Estoy dandole vueltas con mi mujer y tiene razón mi niño, ¿eh?. Porque Rumble Fish tampoco era una película narrativa en el sentido tradicional, apostaba por lo sensorial en bastantes tramos, y también se deja elementos secundarios sin explicar.
Hasta el estilo de los diálogos se parece ligeramente.
No habla mucho en comparación con su hermano mayor (es bastante callado), y dedica casi todo su tiempo libre a leer comics de Tintín (específicamente de Tintín), jugar a videojuegos y ver películas con nosotros. Pero míralo, no se le escapa una, al tío.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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