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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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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.
Enthralling, but a bit too long...
...That's probably because my first-ever viewing of "Apocalypse Now" was in its "Redux" version - featuring around 40 minutes of additional footage that, in the 3-hour-plus product, apparently formed the crux of what was ORIGINALLY envisioned.

Oh, well. I buy it. Contrary to what most others thought, I didn't have a problem with the film's somewhat bloated running length - though I shouldn't really be able to judge, as I have never, ever seen the film before. Fans of the original tend to side with it, and dismiss THIS 2001 re-release as a cheap marketing gimmick (which most re-releases usually are). Nevertheless, I wasn't too bothered by its epic pace; this masterful Vietnam war picture had an impact that resonated with me all the more strongly BECAUSE of its longevity. The next week I ended up viewing the tighter, original 1979 version - and, while still obviously good, I found I somewhat preferred the newer version, for its fascinating additions that lent new depth and meaning to its images.

This is a terrific, and shockingly realistic drama, showcasing unbelievable performances from an all-star cast backed by a legendary director. Obviously enough has been said about the infamous ordeal that countless cast and crew members went through to make it on location. The result was well worth it, and provides an insightful, thoroughly enjoyable window into the hellish, surreal world of the Vietnam war.
1,2,3, what are we fighting for?
It's that film that loads of people hail as a classic - Apocalypse Now, now a re-cut, re-up, Redux 22 years after it's original release.

The film is loosely based on Conrad's Heart of Darkness, it's main plot (if it has one) being Capt. Willard's journey on a naval boat through the Vietnam conflict on his way to terminate a rogue Colonel. (Colonel Kurtz) We see the characters and situations he meets, and he tells the Colonel's story along the way.

My initial feelings towards the film is that it's not particularly gripping at times, especially early on, but at least a good dose of comedy is put in, in the form of surfing fanatic Col. Kilgore. As the film progresses however, a good deal of tension is built up with Willard's reading through various reports on Col. Kurtz until the end is in sight, when everything comes together and the atmosphere of the film reaches an incredible level and holds it there until the end.

The usual aspects everyone looks for in a decent film are all of a good standard. Cinematography in particular stands out as exceptional, and I found the performances of Martin Sheen, Marlon Brando, Robert Duvall and Frederic Forrest to all be worthy of a special mention. The score I found initially sounded out of place, but as the film progressed... I'm not entirely sure if it did actually get better, or it fitted better, or if it had just grown on me, but by the end of the film I was thoroughly enjoying it.

This is the second time I have seen the Redux version, (I have seen the original around four times) I'll say now that the first time I saw it I was disappointed. I was expecting a "classic" film, with lots of war. The fact that Willard got the mission at the beginning of the film and didn't carry it out until the end had me bored because all of the character interaction on the way that IS the film seemed unnecessary. This is due to the fact that the plot is not entirely defined (as the focus is more on the character and the journey more than the plot), in most cases a second viewing is needed to appreciate the film fully (as with all films that are more character than plot based), as the second time around, you know where the plot is going. I had a similar experience with It's A Wonderful Life, which is now one of my favourite films.

With the big four Vietnam films, Apocalypse Now wins over the rest on atmosphere, but lacks the action and involvement of Platoon, the emotional intensity of The Deer Hunter, and cannot really be compared to Full Metal Jacket (probably my favourite of the four). Apocalypse Now is a great piece of work, especially towards the end where it becomes staggering, and is to be recommended for anyone who enjoys a good character based film and doesn't mind some casual violence.
Never get out of the boat unless you are going all the way.
There must be something inherent in man, something from long ago, that sits deep within us; a scary thing, frightening to those who would choose - or who are forced to - gaze at it.

In making this movie, Coppola must have seen this thing that is not always visible. And if he did not see it in its entirety then in what must surely be a cliché by now, he saw enough of it to allow the heart of its darkness to pulse throughout this film.

And just as Coppola was changed by his experience in the jungle, so too his most mysterious character. Something happened to Colonel Kurtz. Something he saw fractured his mind, the diamond bullet shattering his perceptions into a single struggle that he himself, deep within his heart, knew he was unable to comes to terms with. And this is the crux of this movie, that this journey into darkness can promise a truth so clear that it blinds you, a truth so powerful that is keeps a hold of you and does not let you go and traps you into staying exactly, exactly where you are.

For the critics of this film, I wonder if they would ever admit to the existence of the dark place within. Admitting it, will they discover empathy? Art - and the film maker's craft is certainly that - surely requires the observer to join forces with the artist so as to see and to experience the world from the perspective of whatever the artist has discovered. Coppola, following the path of his own film making, ensures that his central character Captain Willard, journeying deep into the jungle, deep into his heart, has his own chance to discover the horrific artistry of the Colonel.
Sheen Shines In This Unique Classic
Well, I've watched this movie for over 25 years now and it's still almost as interesting as when I first saw it. It is definitely one of the most unique films ever made.

I still think Martin Sheen got "dissed" big-time in the billing, too. He dominates the film yet gets lesser billing than Marlon Brando, who only appears in the last 30 minutes of this 2 hours, 17 minutes film (theatrical version). How unfair is that?

Sheen is fantastic in here, especially his narration, which runs throughout. It's one of the best narrations, if not THE best, I have ever heard in a movie. His voice is just haunting as he relates his thoughts on this incredible, nightmare-like adventure. I never fail to appreciate his work in this movie.

The other thing that strikes me about the film over the years are the number of memorable scenes, ones I have never forgotten, such as......

Sheen losing it in his hotel room in the movie's first scene; Robert Duvall and the totally out-of-place surfing scenes and then the ensuing attack with Wagner's dramatic classical music blaring out of the helicopters; The Playboy bunny entertaining the troops; Frederic Forrest being freaked out seeing a tiger close up in the jungle; the weird scenes on the long riverboat ride; the appearance of hippie journalist Dennis Hopper greeting the crew in Cambodia and then Brando's bizarre character. It goes on and on with strange scenes.

That's not to say I enjoyed everything. No, there are a few very unpleasant scenes, such as the one in which an ox is sliced in half (can't watch that anymore), an innocent family is slaughtered on a small boat by Sheen's young stoned-out crew, and the crew is a little too goofy at times. Then, there is the huge amount of profanity, led by way too many f-words.

So, there is a lot of good and a lot of bad things in this movie for almost anyone who watches this One thing for sure: it is a film you WILL remember!
I love the smell of napalm in the morning
I decided I need to lengthen up my review for my all time favorite film. Unlike other war films that focus on the event, Apocalypse Now takes the viewer into a psychological head trip. The sheer surrealism makes the body uncomfortable, yet you can't lay your eyes off of it. Based off of Joseph Conrad's Heart Of Darkness, Apocalypse Now slowly descends its protagonist, Willard (Martin Sheen) into madness, most likely the same way Kurtz plunged into insanity. The production of this film is notorious for its delays provided by the monsoon season and for Brando's unprepared performance (he read his lines from cue cards). There is a documentary titled Apocalypse Now: A filmmakers Apocalypse which shows the hell everyone went through in making this.

The opening sequence is one of the most famous and popular in any film. As the blade of the helicopters are heard in slow motion and napalm is dropped in the trees, the song "The End" by the Doors can be heard. The next shot is of Willard in his bed with the fan on, so the noise of the helicopter coincides with the fan. We are informed that he does special missions for the military, mostly assassinations. When his next mission is given to him, he is baffled. "Charging a man with murder here is like giving a speeding ticket in the Indy 500." The man he has to kill was a respected colonel that has gone insane and isolated himself along with tribes people. Kurtz is ordering atrocious acts that are carried out by these people and he must me stopped. Willard does not go alone however. He is carried on a boat with several soldiers and they come across several battles. Along the way, they meet Lieutenant Colonel Bill Kilgore "Hoorah" about the war. Willard ponders that if Kilgore is that crazy, what could Kurtz be like. There are many scenes that portray Willards plunge into insanity: The tiger attack, the slaughter of innocent Vietnamese, the nonstop rain, the piled dead bodies scattered about, and the deaths of his crew members. When he reaches the Kurtz compound, he is greeted by the village people and a hippie photojournalist (Dennis Hopper). Instead of assassinating Kurtz right away, Willard begins talking with him and his conscience begins to doubt what he should do. Kurtz, on the other hand wants to die. He is tired of the war and wants to go down as a soldier. Willard kills him with a machete while in unison, a buffalo is sacrificed with several machetes by the people. Once they realize their leader has been slain, instead of killing Willard, they hail him as their new king. Willard rejects the offer and leaves them.

The cinematography here is absolutely breathtaking. The colors are grain free, something that is rare in older movies. I can watch it muted and admire the beauty of the scenery.

The acting ensemble is terrific, with everyone playing their parts well. Many criticize Brando for some reason, but I think he nails his role as a depressed lunatic who is beaten up by the war.

The soundtrack and the score are haunting, and provide the mood for the film. I am wondering what instrument they used in that guitar-like sound when the credits roll? There have been many parodies of this film, but my favorite quote comes from Marge Simpson when she explains to Homer why a character with the same name on a police show is behaving like an idiot: "Your character provides comic relief for the show, like um, Marlon Brando in Apocalypse Now." Those who have seen the movie know why this is hilarious.
Yes, it's the best movie ever.
AN is the best movie ever shot. All the cinematographic language is used to a point never met before or afterward. The story is thrilling, and goes up and up to the climatic end. Everything that happens in it has a sense and the levels of reading are infinite. Every viewer will have his own interpretation about the meaning of the movie. It's a matter of feeling the meaning of the events: all of them put together conform a huge, psychological fresco of war. Every war, not only Vietnam. By the way, the Redux version is OK, but not truly necessary, except for the French colonists' scene. It's the only one I really think that should have been in the original version. It's really revealing of the position of France in Indochina. It should be shown in schools to teach the meaning of colonialism.
You love it, or you hate it....
As I peruse through the hundreds of comments that loyal readers of the IMDB have posted on this film, I find it very interesting how few ,"middle of the road" comments there are. Everyone either loves it, or they hate it. Having seen Apocalypse Now approximately 30 times, and having recently dissected it on DVD (how did we ever live without those magical digital machines?????), I can say without hesitation that I am one of those who have a very special place in my heart for this film. "Why would you like a film that's so confusing?" ask many of my associates. The answer is this: Forget the war, forget the brutality....This is a classic story of society protecting itself from those that refuse to fall in line with the status quo. Brando represents the individual that has his own way of getting the job done. They (Big Brother) sent him out to do the job, he does it too well, without adhering to the accepted "standards" of death and destruction (Am I the only one who's troubled by the fact that we have 'standards' for death and destruction????), so they send the "Conformity Police" out to eliminate the individual. Hmmmmmm....Draw any parallels between this and things you see every day? With the deepest respect to Mr. Coppola, whom I believe is one of the best directors of all time, I think he transcended his original intent of the movie, and probably didn't even realize it until after the movie was released. The subtle sub-text that permeates the entire movie has way too much to it to have been planned and portrayed; instead, it seems to have 'grown' itself, like some wild flower in the middle of a vegetable garden. Again I must reiterate: I think FF Coppola did a bang-up job on this entire production, as did the cast and crew, but the sum of the movie exceeds the individual efforts ten-fold. So if you haven't seen the movie, rent it, watch it, then watch it again, and maybe a few more times, and look for all the generic parallels to everyday life. Only then make a judgment on the quality of the film. Those of you that have seen it, watch it again with the mindset previously described. I think you may just have a whole new appreciation for the film. Or maybe not! No matter whether you love it or hate it, be sure and give credit to Coppola for his masterful story-telling style!
Pretentious twaddle
During the Vietnam era, you were either a "square" or "hip" -- with "hip" meaning pro-communist, anti-capitalist, pro-sexual-revolution, anti-mainstream American values. Hollywood directors generally chose to be "hip." The significance of this fact should become apparent in due course.

Now, a little boring history for those who can stomach it: U.S. troops were present in large numbers in South Vietnam from roughly 1962 to 1972. U.S. troops came home in '72, having successfully strengthened the South Vietnamese army (ARVN) so that it could defend South Vietnam from invasion by the North Vietnamese communists and from subversion by the South Vietnamese communist Viet Cong.

The ARVN did, in fact, successfully defend South Vietnam for almost three years. Then, a Democrat-controlled Congress cut off funding to the South Vietnamese in the wake of Republican President Nixon's resignation over the Watergate scandal. The North Vietnamese invaded, and South Vietnam fell.

Soon thereafter, the Communist Khmer Rouge took over Cambodia and tortured and murdered some two million innocent men, women and children. This is the true tragedy of the Vietnam war -- something that no Hollywood director to my knowledge has touched ("The Killing Fields" is not accompanied by a political explanation of the Cambodian Holocaust.)

Four years after the fall of South Vietnam, and seven years after U.S. troops left the country, Francis Ford Coppola made "Apocalypse Now." He was one of a slew of Hollywood directors who sought to capitalize on the deep well of anti-war sentiment in the United States. Well, let's examine such anti-war sentiment for a minute. Being anti-war is fine, but those who are against war are called upon to offer alternatives that work -- and they never do. Instead, they hold up the UN as some sort of ideal -- a UN made up mostly of undemocratic countries with no respect for human rights.

In the end, the Vietnam War was but one of a series of proxy wars between the communist Soviet Union (at times allied with communist China) and the capitalist West. The Korean War was the first major battle in this rivalry, where both sides sought to extend their influence while bleeding and demoralizing the other side. These proxy wars were a substitute for all-out nuclear war. Terrible things were done by both sides in this conflict, but I believe that the U.S. cause was a noble one. And it largely succeeded, in that the Soviet Union collapsed and freedom and prosperity expanded into Eastern Europe.

But the conduct of the Vietnam War by U.S. politicians was terrible at best. U.S. soldiers never lost a battle in Vietnam. But politicians in Washington would not allow them to keep the territory they had won. They refused to follow Barry Goldwater's advice, which was to "Win, or get the hell out!" They failed to mine Haiphong Harbor in North Vietnam to keep Soviet and communist Chinese supplies out of that country. They refused to invade Laos and Cambodia in order to close down the weapons supply line that ran along the Ho Chi Minh trail, ending only thirty miles from Saigon, the South Vietnamese capital.

In the meantime, Vietnam was the first televised war, and the U.S. media were largely left-wing (as they are today) and anti-war. During the Tet Offensive (a major defeat for the communists, and a major victory for the Americans), Walter Cronkite declared that America had "failed" in Vietnam. This was just one of many distortions by the media. The American public stopped supporting the war. And some celebrities -- like Jane Fonda -- actually rooted for victory by the communists.

What, then, do we see in "Apocalypse Now"? Nothing more than all the one-sidedly anti-American, anti-Vietnam-war stereotypes of the day: playing Wagner (subtle; I don't suppose that could be a suggestion that the Americans were the equivalent of Nazis?); showing a giggling soldier-moron in a helicopter randomly machine gunning innocent Vietnamese peasants (subtle; I don't suppose that could be a suggestion that the Americans were the equivalent of Nazis?); and so on and so forth.

Of course, Coppola wasn't satisfied addressing such "substantive" issues. His movie had to be a "grand vision" -- not unlike his "The Godfather." So he threw everything except the kitchen sink into this movie: the pretentious linkage he tried to make between his magnum opus and Conrad's "The Heart of Darkness" -- "Wow, man! That's heavy! Copolla is our Conrad!"; the psychedelic/surreal affectations (a first!); the "ironic" and "clever" juxtapositions (a battle mixed up with surfing); the "revelation" of "Ugly American" insensitivity; and so on.

Well, Copolla was preaching to the choir with this movie, and in this he was a great success. But there is no significance to this movie otherwise. If you really want to see enlightening scenes from Vietnam, rent the multi-disc documentary on the war (I forget the title; there are several.) One very moving scene shows U.S. soldiers singing "Silent Night" on the flare-lit battle-field on Christmas eve. Watching a documentary on the war might actually teach you something about that war -- a first! Otherwise, you're going to have to settle for Hollywood's version from the likes of Oliver Stone and Coppola.

The true subject of Coppola's movie, in my opinion, is Coppola's giant ego. The main secondary subject is the dumbing down of an American public that would uncritically eat up his "vision"; the exact same thing is true of Oliver Stone's various movies. Hollywood thinks that "Epatez les bourgeois!" is the last word in creativity, even when its arrows fall far short of the target.

That is the reason why most "serious" Hollywood movies, in my opinion, are overblown failures. And Coppola's "Apocalypse Now" surely stands at the very front of the line of those failures.
The horror has come true and yet we allow it to pass by us
Francis Ford Coppola's Apocalypse Now is a pure example of method filmmaking. It is the true craftmanship of an essential filmmaker. The art direction, editing and sound effects are partially a small fragment which makes this film classical and memorable. What drives the integrity and semblance of the film is the storyline, acting and inner message. The inner message evidently enough is that war is hell, or in other words, hell is war. Not many directors have the ambition or the true courage to establish such a well-defined piece of art. European filmmakers wouldn't have the slightest problem of directing the film or throw in their personal feelings about the war. What is most interesting is that an American filmmaker spoke his style and the style of the film's collaborators through the continuance of the film.

The plot is fairly simple and brief, adapted by Joseph Conrad's Heart Of Darkness. Martin Sheen plays the role of Captain Willard, a war-torn character who does not see any hope in life or humanity anymore. He has a mission and it is to capture a presumed Colonel Kurtz (Marlon Brando) who has fabricated an army of existensial soldiers on the outskirts of the Cambodian jungle. Throughout the film we encounter astonishing sequences. The most unforgettable is the dawn helicopter attacks. Robert Duvall's character Colonel Kilgore is a steady and firm example of the basic American army brain: to search and destroy and then destroy some more if it includes yourself. The children walk about the playground, oblivious to any danger. The helicopters come into view from the dawning sea; millions of sprinkle reflect from the water, we hear the helicopter's engines roar from the horizon and soon enough we are stuck in a messy attack. Throughout the sequence we hear Wagner's 'Ride Of The Valkyries'. It is method filmmaking. The starting sequence is as fascinating as the rest of the movie; a beautiful scene of palm trees blowing in the ragged wind and seconds away from being inflamed with a carpet bombing. Let's not forget the scene where the soldiers of the boat in which Sheen travels in, stop an innocent upcoming boat, suspecting them to be VietCongs and carrying artilleries. Then they spark off a heavy scene of shooting in which all of the passengers of the boat are pulverised to pieces with their crops and food savaged in the atrocity.

This film has its famous moment, some better to be kept quiet about until they come through the screen. It doesn't require any intellectual understanding, although the film is intellectually remarkable. The American soldiers in the Vietnam War jumped into the land of a fresh governmental country, aiming to protect themselves and in the end only received death and chaos for their troops and for the majority of the country they were fighting against. It was a war gone mad, like all other wars, without purpose or dignity. It was a pure act of humanity: to destroy and restore their own greedy needs. This is a film in which there is no saviour, where it is hardly possible to find hope in the gloomiest corners and where all surroundings are plagued with the infatuations of greed, anger, foolishness and egoism. As Coppola once said about the film: 'This film isn't about Vietnam. This film IS Vietnam'. He was right to the date. During the current situations of the world, where they are trying to protect their own skin, the world should try to analyse this film as much as possible and wonder about what it is trying to represent. It is a film which does not ask for applause or damnation. It asks for realism.


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