implicitly Forceful and garish meditations
in the twilit and allegorical film art
of Gia Coppola
by Gary W. Wright
Following in the legendary and indomitable film art footsteps of her grandparents Eleanor and Francis Coppola and her aunt Sofia Carmina (SCC) Coppola and teaming with Francis-who did some voiceover (VO) work-and her nephew Bailey Coppola-who played Seth-Gian-Carla “Gia” (GC) Coppola implicitly meditated on the madcap antics of various tragicomic Zone Warriors in her first twilit and allegorical indie docufeature film PALO ALTO (2013), inspired by the twilit and allegorical James Franco short story collection Palo Alto (2010), which continued the Coppola tradition of allegorical film art inspired by literary art.
“I see we got a wise one.”
Curiously, the film revolved around two interrelated narratives. In one of these narratives, GC implicitly linked a middle aged Palo Alto high school teacher and girl’s soccer coach, Mr. B.-played by Franco-to Coppola clan friend and film artist, George Lucas. As Mr. B. failed in his attempt to kindle a relationship with his shy, sweet, implicitly film art linked and Natalie Portman evoking teen babysitter, April-played by Emily Roberts-GC implied that she felt that Lucas had also failed in his attempt to use Portman’s Princess Padme Amidala to achieve success again with the STAR WARS Tragic Trilogy, an assessment shared by most audiences. Thus, on one level, GC implicitly continued the satirical roast of Lucas that her aunt SCC implicitly finished in her own equally satirical Lucas Trilogy comprised of the twilit and allegorical indie docufeature films LOST IN TRANSLATION (2003), MARIE ANTOINETTE (2006), and SOMEWHERE (2009).
In a parallel allegorical story interwoven throughout PALO ALTO, GC also implied that the slowly deteriorating friendship of teens Teddy and Fred-played by Jack Kilmer and Nat Wolff, respectively-symbolized the strained relations between Zone Wars “scholar” Gary W. “Gardevil” Wright and film artist Jason Reitman as a result of infamous Toronto International Film Festival (TIFF) lists and the twilit, allegorical, slightly CGI enhanced and implicitly Gardevil bashing Reitman indie docufeature film YOUNG ADULT (2011), implying that she was contributing to the tragicomic sub-genre of the dread allegorical Zone Wars known despairingly to some as “Cinema Garite”. Indeed, Teddy’s work in a children’s library evoked Wright’s work as a Library Technician in a high school library, while Fred’s love of smoking evoked Reitman’s first twilit, allegorical, slightly CGI enhanced and implicitly David Lynch toasting indie docufeature film THANK YOU FOR SMOKING (2005), affirming the implicit link of the two teens to Wright and Reitman.
In addition, Fred’s implicit link to Reitman was reaffirmed by his friend Jason King, whose name evoked Reitman’s first name Jason and the fact that the new permanent headquarters of the TIFF was located on Reitman family donated land at King and John streets in Toronto. The white t-shirt and red jacket Fred wore as he played chicken by driving into the incoming lane in his red and white Oldsmobile, in the end, also reaffirmed the implicit link of Fred to Canada, as the red and white colour combination evoked the red, white and true Maple Leaf flag of Canada. Thus, the sight of Teddy leaving behind his community hour work in the children’s library and the self-destructive Fred for more fulfilling artistic pursuits in a retirement home and a tentative linkup with April implied that GC hoped that Wright would leave behind his TIFF with Reitman, grow up, get a life and devote himself to creating real art instead of “enlightening essays” on twilit and allegorical film art. An implicit concern that might still be plaguing GC, given that she recently teamed up with Wolff again on the twilit, allegorical and CGI enhanced indie docufeature film MAINSTREAM (2020), implying that C remained worried that the poor ol’ Gardevil might inadvertently trap himself forever in a sadolescent and always Twilit Alto.
Franco, James. Twilit Alto. New York: Scribner, 2010.