Megalopolis and the Coppola Effect

There’s no science behind filmmaking. The intricacies of the story mixed with the fit of the actors make it extremely difficult to predict the potential of a film before opening night. There are too many variables in directing a movie to forecast a director’s success in the industry, and so every now and again, a director will skyrocket to fame by way of a lucky break. Francis Ford Coppola, known for the revolutionary 1972 film The Godfather starring Al Pacino and Marlin Brando, is a prime example of a truly mediocre director who was thrust into the spotlight due to a single success. After the Godfather trilogy (of which only two were decent), Coppola went on a never-ending losing streak, with flop after flop from One from the Heart (1981), losing $25.4 million, to Megalopolis (2021), making back only ten percent of its budget. Many believe Coppola simply ran out of genius, but in truth, he never had it in the first place.

 Cinematography in the ‘70s wasn’t the same as it is today. Modern cinema consists of flashy, overstimulating action and drama, while the popular methods of more than half a century ago rely on slow and steady storytelling. The hallmark quality of a satisfying winning film back then was a solid and complete story mixed with evocative acting. The brilliance of Coppola's title film, The Godfather, comes not from Coppola’s own cleverness but from the phenomenal script provided to him by screenwriter Mario Puzo and the moving performance that was rooted in the tried and tested talents of Al Pacino and Marlin Brando. In truth, Coppola was no more than a facilitator for greatness, with his name stamped on the credits in bold letters. 

His legacy persists through his extremely talented nephew Nicolas Cage and his daughter Sofia Coppola, who has also tried her hand at making movies that are less lucrative. Nick Cage, the extremely successful actor known for roles in nearly every genre of cinema, decided to change his name because he didn’t want to associate with the Coppola family and what it might mean for his own success. He was afraid of being roped in with the other nepo babies the Coppola Dynasty produced while also worrying that the name would drag him down in his career.

The Coppola family has turned itself into a brand of its own, and they’ve even established a winery under their family name. Coppola actually ended up making more money from his vineyards than he ever did from filmmaking. Despite Francis Ford Coppola’s dated prominence, he spent much of his career up until his more recent business ventures as a broke filmmaker that relied on less than frequent funding from unenthusiastic producers. Other than the fact that he hadn’t had a hit movie since 1974, he was having a bit of an issue getting wealthy producers to sponsor his disastrous ideas. Many of his movies, including the most recent and forgettable Megalopolis (2024), were paid out of pocket when he was unable to garner sufficient funding. 

Fifty-two years later, Coppola again tried to bring back the so-called cinematic magic that put his name on the map. With notable actors such as Adam Driver and Giancarlo Esposito, Coppola hoped his directorial shortcomings could be masked by those much more talented than himself. But cinema had evolved over the decades he’d been dormant, and this time, no amount of half-decent writing and Oscar-worthy acting could cover up his glaring mediocrity. 

It can be hard to pinpoint what exactly a director adds to the productions they put together that makes or breaks the film for audiences. With a veritable army of experienced actors, well-equipped technicians, and veteran screenplay writers, it can be difficult to comprehend what a director does that puts their name first when the credits roll. What every great director does is give each and every one of their movies an intangible but loud touch, like M. Night Shyamalan’s trademarked cameos or Quentin Tarantino’s excessive use of violence and gore to move a plot. Coppola has no touch, no trademark, no unique aspect that he adds to his films. The very fact that his movies are more famous than he is is a clear indication of the brevity of his stardom, and the undeserved hype surrounding him isn’t backed by results. Failing to find meaningful success in his own lifetime, Francis Ford Coppola has chosen to head a dynasty of sorts, wielding his name to further himself and his kin.

Coppola is missing the one thing that makes a great director—consistency. Consistency is seen in Roman Polanski’s decades of clever and unique plots, in Steven Spielberg’s style as he tackles all genres from horror to science fiction to historical fiction, and in Quentin Tarantino’s unforgettable storytelling. Two-hit-wonder Francis Ford Coppola was never a good director, and the very fact that he has been roped in with truly talented individuals like Christopher Nolan and Martin Scorcese is an insult to the very nature of good filmmaking.