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Apocalypse Now
Drama, Action, History, War
IMDB rating:
Francis Ford Coppola
Marlon Brando as Kurtz
Martin Sheen as Marlow
Robert Duvall as Lieutenant Colonel Bill Kilgore
Frederic Forrest as Jay 'Chef' Hicks
Sam Bottoms as Lance B. Johnson
Laurence Fishburne as Tyrone 'Clean' Miller
Albert Hall as Chief Phillips
Harrison Ford as Colonel Lucas
Dennis Hopper as Photojournalist
G.D. Spradlin as General Corman
Jerry Ziesmer as Jerry, Civilian
Scott Glenn as Lieutenant Richard M. Colby
Bo Byers as MP Sergeant #1
James Keane as Kilgore's Gunner
Storyline: It is the height of the war in Vietnam, and U.S. Army Captain Willard is sent by Colonel Lucas and a General to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, Walter Kurtz, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes Kurtz has gone completely insane and Willard's job is to eliminate him! Willard, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-Colonel Kilgore, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Willard, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will...
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Incredible Adaption of Conrad's "The Heart of Darkness" -- Possibly Coppola's Masterpiece
Movies seem to fall into two categories: films that reinforce existing societal values and beliefs, and those that challenge them. This film is a 180-degree shift from the idealistic rhetoric portrayed in offerings like "The Longest Day" and "The Green Berets" which seem more like Disney fantasies by comparison. The "Apocalypse Now!" project, the production and resulting film, is "Heart of Darkness" updated into a psychological horror story of the late 20th century post-modernist variety. The cast and crew who worked on it probably could relate to the terrifying places the human mind can achieve. This is the plight of Joseph Conrad's original character Kurtz who came into literary being in 1901 and subsequently referenced in TS Eliot's "The Hollow Men" (Mistah Kurtz, he dead) of 1925. Although neither a straight telling of Conrad's "Heart of Darkness" (1901) nor a first-hand account of the Vietnam experience, "Apocalypse Now!" stands as a masterpiece which pushed on the envelope of cinematic potential. "Apocalypse" is not just about the "horrors" of war per se, like "Platoon" and "The Deer Hunter", but the darker sensibilities of human nature as revealed through the raw and demeaning confrontations of violent conflict on a mass scale. Apocalypse Now! is not so much seen as experienced.

The bulk of the movie is the journey of a trained secret assassin, Captain Benjamin Willard (Martin Sheen in a tour-de-force performance), aboard a US military boat traversing an unnamed river into the heart of Vietnam and Cambodia where few westerners would ever tread. His mission is to terminate Colonel Kurtz (Marlon Brando), a career army Special Forces Division officer who was the darling of the US Military until he went AWOL and renegade in the deep uncharted jungles between Vietnam, Laos and Cambodia. The official classified report is that the colonel has gone insane but as events play out, something else has happened to him that is far more terrifying than simply insanity. Sheen's mission is to terminate the colonel with the American public none the wiser.

The movie is rather episodic. The journey along the river is made up of several vignettes as Sheen and his crew meet different self-contained "aspects" of the war at the ground level. American audiences of the 1970's had probably never seen this kind of film-making before, with the possible exception of "The Deer Hunter" which was released in the previous year. The first, and one of the most notable, is an helicopter battalion led by Col Kilgore (Robert Duvall in an Oscar-nominated performance) who is a cross between General Robert E Lee and Richard Wagner. He loves to play "Ride of the Valkyries" from Wagner's "The Ring" when he bombards helpless villages. His line "I love the smell of Napalm in the morning" is one of those oft-quoted lines from the annals of cinema. Other encounters include an amphitheater where enlisted privates will be entertained by the likes of Hugh Heffner and Playboy bunnies.

Despite all the production catastrophes that impeded getting this footage into the can, the remarkable aspect of this film is its pacing. The original release (not the later Redux version) does a fine of job of building until the viewer is emotionally prepared to deal with the climactic confrontation between Willard and Kurtz. The strange discourse between Willard and Kurtz is worth the price of admission alone. And some of the shots of both Sheen and Brando in certain places are some of the starkest and terrifying images ever produced on film. Not even the likes of Clive Barker, Wes Craven or David Cronenberg have anything on Coppola in terms of horrific imagery. Brando's Kurtz in one scene in particular is so utterly terrifying it makes most other horror movies seem tame by comparison, which comes from the recognition that the horror is not from without but from within.

Without giving too much away, Coppola's solution to the climactic moment stands as one of the most innovative of cinematic revelations. According to the documentary "Hearts of Darkness", Coppola feared that the inevitable final scene would lapse into melodrama, and the atmosphere of the movie's darker hues would be compromised. He wasn't sure how he could make it work until his wife encouraged the director to witness the ceremonial sacrifice of an ox as practiced by the native people with whom Coppola was using as extras in the scenes with Kurtz at "his" village. After the viewing, Coppola had his ending, and it is one of the most simultaneously disturbing and beautiful sequences in the history of American film-making. Love it or hate it, no western viewer will be the same after seeing this scene.

This film is not for all tastes just as Conrad's original novel is not the kind of book that will be read on airplanes. It's not just the violence and the pointlessness of violence that are difficult for most American viewers to absorb. It's the naked unveiling of aspects of the human condition that seem so removed from suburban American life that make this film difficult for the average movie-goer to handle, which is as it should be. Coppola did not make a family picture. However, if the viewer can understand its larger point, there is a lot to be gotten out of Apocalypse Now!. If you're looking for a film experience to reaffirm pre-existing attitudes about American sensibility and heroism, better stick with John Wayne. But if you're willing to be taken into places you've never been, even beyond "the evils of war" rhetoric, "Apocalypse Now" will take you into a world you thought you'd never visited before, and the disturbing part of it is that you may recognize it.
Redux: still brilliant - but now with new strengths and weaknesses
In an updating of `Hearts of Darkness' a soldier is given a mission to travel up a river During the Vietnam war in order to terminate the command of Colonel Kurtz. Kurtz is operating without orders and is leading a group of natives in brutal violent strikes against the enemy. Despite his history of brilliance and decoration he has clearly gone mad. Willard joins a military boat and travels up river to his destiny. However the further he travels the more madness appears to have become the norm.

That Redux was going to be anything less than brilliant was never in doubt: it was never going to be so different from the original that it would destroy or significantly damage the reputation or impact that the film has. What was in question to my mind was whether or not Coppola should have just left well enough alone. I have seen the documentary about the making of the original film, wherein Coppola derides many of his scenes and decides to cut them out of his movie even as he finishes shooting them - the plantation scene being one of the key ones that he felt just didn't work. It was for this reason that I was interested to see what the additions and rejigging of scenes had done to the film.

The strengths of Redux is that Apocalypse Now was never about the straight story, it was more about the journey Willard undertakes rather than a build up to a traditional conclusion - while the ending is big, it is no more or less important that anything that has gone before it. So for that reason it is a good thing that, simply put, there is now more of the journey to be enjoyed! `49 minutes of new material' my dvd cover screams at me; combine this with the movement of scenes and certainly it does have the feel of a different (albeit familiar) film rather than just a bit of spit and polish with some new CGI effects (yes ET, I'm looking at you). However this increased material also brings with it the problems that not all the material compliments the film in terms of total quality.

None of the added scenes or sequential movements are bad or even average, they are all interesting, but some just don't seem to really fit. The plantation scene has some great dialogue (that strikes a real chord so recently post-Iraq) and it makes it's points but it just didn't seem to fit. I can see what Coppola was trying to do and, if you watch Hearts Of Darkness, you can see that it frustrates him that it doesn't work, but he got it right first time, it doesn't fit despite it's standalone merits. Likewise the playboy bunny scene intrigued me as I tried to get more from the bunny's semi-speech about being made to do things and the theme of objectification, but again it didn't totally work and seemed out of place.

Despite these two major scenes not totally fitting, they are still interesting and, if you came for the journey, then that is what matters and they present themselves as a flawed part of that journey - but a part of that journey nonetheless. Some of the smaller additions actually contribute a lot more to the film. Little moments in the boat show Willard to be more relaxed as a man than the original did - and this greatly benefits my understanding and appreciation of his character. How he interacts with the rest of the crew is also improved. Other minor additions to existing scenes serve to enhance them, but improvement in some areas is difficult when it comes to this film.

I won't go into details on cast, performances and the themes of the film as I have already done that in my other review. Suffice to say that, if you loved Apocalypse Now then Redux will likely both enhance your enjoyment and slightly irritate you at the same time. The film easily stands up to the longer running time - as another user said, I could easily give the five hour version a stab (well, maybe once!) as the journey is the all. The additions may not be without flaw, but then that's why they were higher on the editing hierarchy than the rest of the stuff! However they add interest and minutes to the journey - both of which are good things.

Overall, it is very difficult to take `one of the best films ever madeT ' and make it better - and Coppola hasn't done that here, but he hasn't damaged it either. It isn't a brand new film and it doesn't mess around with the original so much that it could be called a different film - so I won't compare the two as to which is `better'. Suffice to say that, while I don't totally agree that you `can't have too much of a good thing', certainly an extra 49 minutes is gratefully received where it doesn't damage or cheapen but only seeks to enhance and support.
Growing up in the 90's i haven't experienced many amazing movies. The closest i ever got to cinema salvation was the Godfather, which is my second favorite movie. Two years ago me and my friend became obsessed with movie making and movies. First, watching movies that dealt with subjects we were interested in, war and action. Then we got into movies that showed artistic edge in which we had never experienced. Apocalypse Now, one of the hundreds of movies I've watched is still my all time favorite. A masterpiece in cinema, a very edgy movie dealing with Vietnam. The movies starts out dark with a very twisted humorous feeling almost. As we see Martin Sheen travels down the river things become twisted and disillusioned, becoming a symbolic representation of war and life. I give it 10/10, it's not for everyone. The movie needs to be watched more than once to fully grasp its artistic nature. I hope this helped, pz.
Such a great adaptation of Heart of Darkness
It carries the tone of voice that narrates the book into the jungle of Vietnam and into the wild-eyed look of Martin Sheen and Dennis Hopper and the mystical morbidity surrounding Colonel Kurtz.(I don't say Marlon Brando because after watching the documentary, "Hearts of Darkness," I am skeptical as to how much credit Brando is due for that quality). The tone of voice I'm talking about is brooding and dramatic without being overbearing: "Everybody gets what he wants. I wanted a mission, and for my sins they gave me one. They sent it up with room service." It is indulgent without being narrow and alienating. A good example of is Hopper's indulgence into aphoristic madness, generously installing lines written by T.S. Eliot and Rudyard Kipling into his stony monologues: "I mean, the man's a genius—sometimes he'll walk right by you without even saying a word, and sometimes he'll grab you by the collar and say "did you know that 'if' is the middle word in 'life'…if you can hold your head while all around you they are losing theirs" and then "I mean he's a wise man, he's a great man; I should have been a pair of ragged claws scuttling across the floors of silent seas" (The first one's Kipling, the second one's Eliot.
Philosophical, yet captivating!
Well, I guess everyone who has once seen this move could not have denied its status of a masterpiece. I couldn't as well. Initially, the viewer is served with the captivating, overwhelming song "The End" by The Doors, which I am listening to right now. The song very much describes the imminence of the events about to ensue. The greatest amount of the movie's grandiosity lies in multiple separate, self-contained scenes. One of those is the air strike undertaken by Americans while the Wagner's "Flight of the Valkyries" is on and there is a splendid juxtaposition of horror over the Vietnamese and the exhilaration among the Americans. Another wholly self-descriptive scene is that of Marlon Brando confessing with his tremendously pervasive and piercing posture. Robert Duvall's peerless courage and uncommon decisiveness is another completely different, yet scathing, character. The movie is philosophic with events meandering here and there but never getting away from the target. 10/10
Those AWFUL added scenes in "Redux"
I'm starting to get weary when I hear the term "director's cut". Some are good like Ridley Scott's "Blade Runner" but William Friedkin totally screwed up the end of "The Exorcist" in his restored version, but this is even worse. "Apocalypse Now" was very well made and it seems that Coppola who was in his creative prime when he made the film (having completed "Godfather I & II" and "The Conversation" and then never coming even close to anything compelling after that) simply decided to desicrate this film. He should have realized that he was a much better director when he made "Apocalypse Now? then he is at present, and that he cut out the scenes in question for good reason.

-I like the extra footage of Col Kilgore, but having Willard steal his surfboard and then laugh with glee like a frat boy was totally not in his character and it was best left on the cutting room floor.

-The playboy bunnies extra scene is beyond ridiculous. It wasn't even inserted into the movie correctly. One minute it's a sunny day Willard is reading Col. Kurt's letter to his son and looking at a photo of Kurtz, and then suddenly it's raining and they come across the army camp. Willard offers two drums of deisel fuel in exchange for sex for the boys on the boat. Again..totally out of character for Willard, and completely unbelievable as a whole. Theres a five minute awkward scene with the men and the bunnies and then FLASH their back on the boat again, it's not raining anymore and Willard is staring at the same photo of Kurtz again, terrible editing!! Afterwhich is the scene where they come across the Vietnamese supply boat and kill the passengers. The impact of this scene is taken away as the motivations of the crew are not as understandable anymore. Also when Willard kills the injured Vietnamese woman because he's in a hurry to get moving, makes no sense now. He wasn't in too big a hurry in the previous scene having made the deal for the men to have sex with the bunnies????

-The French Plantation sequence is too looooonngg. Willard (at their dinner table) asks why the family is still in Vietnam, to which he gets a TWENTY MINUTE answer by everyone at the table as they yell back and forth at each other. He then SUDDENLY ends up with this French woman while the soundtrack spews very sappy music. I was wondering what happend to the movie during this entire sequence....the river....the war....colonel Kurtz???? After watching this awful sequence I said to myself "the horror, the horror".

-The extra scene with Brando reading Time Magazine is also pointless. Also seeing the Kurtz character in broad daylight, instead of the shadowing figure that we were limited to in the original version takes away his foreboding.

All these scenes add nothing to the film except extreme length. I tend to like long movies but not when they are injected with pointless scenes, the movies previous 2 1/2 hour length was perfect for it. I will keep my old original DVD of "Apocalypse Now". I hope some day they release a two disc set of this film. It will have the original version in the 2:35 to 1 aspect ratio. And another disc with trailers, "Hearts of Darkness a filmaker's Apocalypse", and they can even throw in the extra "Redux" scenes in a deleted scenes option just for laughs.

STICK WITH THE ORIGINAL!!! As far as "Apocalypse Now Redux" goes, for me, this version does not exist...nor will it ever exist.
Truly a Masterpiece
Somewhere on IMDb there is a discussion about the greatest director of all times (Spielberg, Copolla and others are named there). The greatest argument was around Spielberg and whether he is or isn't a great director. The problem with Spielberg is that while he is a master technician, most of his films lack depth.Saving Ryan is really outstanding from a technical point of view, but its message is dull and while its very entertaining, it doesn't make you think about anything. AN is the best movie I ever saw because it combines great shooting with a deep philosophical perspective on so many things, starting from war in general, the clash of civilizations, the condition of soldier in wartimes (is a soldier a hero or an assassin? Brando says he is neither, the french lady says he is both ...) and many others. The problem with some people is that they try to argue about whether these points are true or false. But a great movie, and a great piece of art in general is supposed to spark arguments, not to solve them ... Maybe Coppola is right, or maybe he isn't, nobody holds the truth anyway. You can watch this movie for its outer beauty, amazing scenes, great acting and memorable quotes and you will be entirely satisfied. But what really make this movie a masterpiece is its inner quality. You can't help but make a comparison with the recent Fahrenheit documentary.Both Copolla and Moore tackle similar issues, but while Copolla presents matters from an outside , objective point of view, Moore takes a very partisan position that really compromises the whole point of a documentary ... It is really a shame that a film like Fahrenheit 9/11 won a prestigious award like Cannes. But anyway, if you want to start to understand a little of the Vietnam war, the Iraq war, the second World War and any war in general, you should definitely see this movie, and not the other one ...
The Dictionary Definition of Overrated
I saw this film once per decade in my first thirty years on Earth, and I've decided I don't need or want to see it again. It's a good film, and interesting from start to finish, but for me its I first saw this movie as a kid, and I was impressed (if rather confused). I had no idea it was supposed to be the best film ever, so it never occurred to me that anyone might think that.

Next time I saw the film I was in my teens, and I'd read Joseph Conrad's novel Heart of Darkness - thus, I was less impressed. By this point I was a little more into movies, so I'd seen more critically acclaimed classics too - another contributing factor to the film's diminishment in my eyes.

The last time I saw it was in my mid-to-late twenties, and I was honestly disappointed. When I next had the chance to watch the movie, a year or so ago, I passed.

Fans of Coppola and lovers of this movie will be ready by now to condemn me as a moron or philistine, but I truly believe this to be an overrated Hollywood mess.

It fails as an adaptation because of all the extraneous business: it's no longer about a man's journey to find Kurtz, it's about a seething mass of American national obsessions over Vietnam, war, race and imperialism.

Also, unlike Conrad's spare, to-the-point writings, the film deals almost exclusively in hyperbole. There are quiet moments, but they ring false in amidst the craziness.

As other reviews have pointed out, it's not really a war movie. However, its hard to see it as such since every scene is more or less obsessing over Vietnam.

Other reviews have also pointed out that it's not meant to be realistic, but I question that perception. It looks to me as if it *is* intended to be realistic in many ways - and the fact that it isn't is another of the film's failings in my eyes.

The racism of the film is also uncomfortable to me. Where Conrad's novel embodied the racism of its era (in which a white European did indeed have trouble viewing black Africans as human), this comparatively recent film embodies modern American racism by treating its nonwhite extras like so many cattle (no reference intended).

None of them have personalities or recognisable aims and objectives - they're seen only as faceless savages, as dangerous enemies, a mindless force which can be harnesses either by clever Communists or manipulative madmen.

The key performances are more interesting than actually good. Sheen isn't outstanding, certainly not at his best, and Fishburne is way underused. The big disappointment, however, is Marlon Brando. After such a long journey, so many death and traumas, its awful to realise that their objective is this old tubby loon who waddles around mumbling and being worshipped by unconvincing "savages".

I've never been a fan of Brando, who for me is like an older, fatter Al Pacino. He knows no restraint, and while many film lovers rate him all his performances seem pretty much the same to me... in that these are actors whose personalities get in the way of their acting. They always seem like themselves, whether its appropriate or not.

It's probably fair to point out that I'm not a Coppola fan, either. The phrase I used as a header here was originally something I said about The Godfather. Coppola's movies always come across bombastic and self-important, self-consciously "big" movies with heavy themes.

I do understand the film, and I appreciate that it has many moments of inspired cinematography and several truly amazing scenes. But for me, it never connects emotionally.

Too many characters and situations ring false. The structure is too messy, the use of pop music grates on my nerves, the plot-holes are increasingly apparent with every viewing, and to top it off I find the idea that this is adaptation of Conrad rather absurd. In many ways it's less true to the source than West Side Story is to Romeo and Juliet.

It's not a bad film, as such, but a deeply flawed film... and, from a personal point of view, sententious and unnecessary.
Interesting Redux
Believe it or not, I have only just seen the redux.

What's interesting is what the redux adds: For one thing, it better highlights the idea that if Kurtz didn't have a method, he did have (or had had) a goal: "Winning" in Vietnam. And this dovetails with another image from the original, nicely paired with a new image in the redux. Image one, from the Playmate USO show: While the Americans had myriad choices, the Vietnam had a choice between victory or death. Image two, from the French plantation, reminding us that the French had actually built something there in Vietnam. What did the Americans have? The Dominoe Theory. In other words, we didn't have s**t, and the redux drives this home a little better.

I love this movie because it's still a bit of a Rorschach. It's a mystery wrapped in an enigma, or some f**kin' thing. To wit: Are we ever given a satisfactory picture of the meaning behind Kurtz? The redux seems a little better at conveying the feel of approaching an event horizon, where morality and reality becomes more chaotic and splintered, and it would not be meet and right to expect to be able to walk away "resolved." The movie resolves by resolutely evading a clear resolution. But there are mirror shards whipping by our heads at 400mph, bearing fleeting perspectives. Maybe Kurtz *is* "America in Vietnam." Maybe we won't understand the meaning of the Vietnam War until we understand that the best picture we'll ever get of that is Kurtz. Which is to say that we simply engineered, to the tune of $400B (which, I heard, only *just* got paid off), a horror show to fulfill our Daily Minimum Requirement for The Horror.

All that said, there were still a few bits that maybe should have been left out. The scene with the Bunnies meeting and greeting the crew was unnecessary. Specifically, Willard engineers the deal--2 tins of diesel for a couple hours with the bunnies--and this is distinctly out of character for the spartan Willard. The scenes at the French Plantation were a mix 'n' match; Clean's burial; good. Explanation of prior French integration into Viet society; good. Opium and sex; again, glaringly out of character for Willard. Any time Willard cracks a smile or otherwise distracts from his own proto-Kurtz philosophy has to remain suspect.

This was a great movie and remains a great movie. See it.
Great interpretation of a good book to deliver points on the nature of war
In an updating of `Hearts of Darkness' a soldier is given a mission to travel up a river During the Vietnam war in order to terminate the command of Colonel Kurtz. Kurtz is operating without orders and is leading a group of natives in brutal violent strikes against the enemy. Despite his history of brilliance and decoration he has clearly gone mad. Willard joins a military boat and travels up river to his destiny. However the further he travels the more madness appears to have become the norm.

It is a film everyone knows, and a `making of' story that is familiar to everyone on some level. The problems with the military, with destroyed sets right down to Keitel walking off set to be replaced by Martin Sheen who then had a near complete breakdown during filming. However the story itself is what keeps this so popular. The original book is set in Victorian times and is similar only in the concept of travelling up a river and confronting something dark and changed in the shape of Kurtz. The modern day spin on it makes it even more interesting as it looks at the madness that comes with power within war.

The journey itself is at times comic and at other times brutal. The overall feeling is one of soldiers not knowing why they are fighting or who they are fighting. The feeling of confusion and fear is inherent in the film and is very well delivered. Willard's journey never fails to grip and is interesting on whatever level you watch it – whether it be for the famous set pieces or for the underlying themes.

The performances are excellent. Sheen has never been better and now seems so distant from his character that he is a different person. While some of the emotion on screen was real, he does a great job as our guide through the journey. The best performance comes from a surprising source –Brando. Despite the fact that he was difficult, horribly over weight and hadn't learnt his lines, his eerie performance is still haunting. His mumbling and reasoning in the shadows show that he may be touched by madness but, in the context of war, he is also touched by cold logical reasoning. Likewise Dennis Hopper fits in well despite his stoned demeanour. The support cast include some names as Albert Hall, Harrison Ford, Forrest and a young Larry Fishburne.

Overall this will remain a classic on many levels. The film itself is great and full of spectacle, the story of the making itself is interesting, the performances are wonderful despite everything and the fact that it has other themes makes it even better. As an war movie it is great simply because it isn't about the war it IS war – in the words of Coppola `it isn't about Vietnam, it is Vietnam, it's how the Americans were in Vietnam. We were in the jungle, we had too much money, too much equipment and, little by little, we went insane'. Classic film on so many levels.
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