Hank and Frannie don’t seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship. Each one of them meets their dream mate, but as bright as they may seem, they are but a stage of lights and colours. Will true love prevail over a seemingly glamorous passion? Welcome to Coppola’s Broadway-like romantic musical. –IMDb
He was born in 1939 in Detroit, USA, but he grew up in a New York suburb in a creative, supportive Italian-American family. His father was a composer and musician Carmine Coppola. His mother had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as soundman, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of This Property is Condemned, by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning?, and Patton, the film for which Coppola won a Best Adapted Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George… read more
The blatant artifice projects a modern fairy tale in the more lurid sense, with the bright lights of its Vegas as the hedonic playground and romantic wonderland. As Coppola’s decadence comes to fruition, his montage allows the love story to be framed in more creative and thoughtful ways than usual: pronouncing the spaces and movements of its star-crossed lovers (as previously done so deftly with the Godfather timelines) across their artificial paradise, staking its turf more emphatically than the superfluous musical layer on top; a quibble.
It's a sleek and sexy film all throughout with some great visuals going on. The fakeness of the Las Vegas sets contrasted with the real emotion of the story. Unfortunately, there was nothing real or emotional coming from the characters or the story, it become awfully dull. The music though is excellent, worth the watch. The film as a whole sorta works well, in a kind of vapid way.
Here is a place where Storaro sings while Coppola mostly dismisses the former traction that allowed for his work to grow with each new picture. Had this been a vaulted curio discovered years later, the sizable disproportion of the narrative to its intense visual flare might seem less awkward; instead, it is the follow-up to Apocalypse Now.
Exploring riffs on “the scarlet whore of the advertising world” in current movie posters.