Apocalypse Now

There are films we watch because they are good, even though they are painful for us. This is a film I saw one time. At that time I thought to myself, this is enough. It was painful to make that journey down the river, wondering what was around every corner. Then we meet the products of our own id impulses, as we are the enemy, our souls have been brought down to this. At the end of the river is the man who came before us, and we see the uselessness of the journey. It is the Heart of Darkness. There are death masters like Robert Duvall. There are those who can only hope to survive, but the war is the master. The Doors music as the napalm settles gently on the treetops and across the ground, sweeps us up gently. Meanwhile it is consuming the flesh of the Vietnamese people, as well as an occasional American soldier. The ancient Romans could not envision peace without war. We and much of the world seem to have embraced those tenets put forth some two thousand years ago. This film gets into the marrow.

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.

Apocalypse Now is an interesting film, not because it is supposedly an anti-war film, but because it is surreal and shows an interesting journey into madness.

Martin Sheen gives us an insight into his character here and we see the senselessness of the whole situation and how easy it is to lose yourself in certain situations.

We follow his journey and the various events that befall him and a small group of soldiers in a patrol boat traveling deep into the jungle. On their way, really bizarre things happen.

Along the way, we also see Robert Duvall in the role of a completely insane officer, whose episodic role has a profound impact on the film.

The film should essentially be anti-war, but it didn't strike me as such, but simply as a film about the fate of various people who found themselves in unusual situations.

Their whole mission doesn't really make sense, and in the end they accomplished nothing, but that's the point. Everything was really in vain.

The direction is excellent, the music is perfectly integrated into the film and matches the tone of the film.

For me, this is a film about the loss of reason and the journey to madness. If civilization completely collapses, and somewhere it has already collapsed a long time ago, this is roughly what we can expect, madness and insanity.

I watched three versions of the film and I liked the Redux version the best.

An interesting and brutal journey into madness and darkness.

So just how insane is 'Apocalypse Now'? Well, let's say that it is the kind of film that makes you want to bang your head against the wall. The beginning has no credits or titles; nothing. The whole film seems like it's taking place on a different world, and as the story moves on, sanity itself is shed. There was a French plantation scene that got cut out, and an alternate ending that would have had a massive battle scene outside Kurtz's compound.

'Apocalypse Now' is not a realistic film in the sense that the presentation of the Vietnam War is far from correct: helicopters going in BEFORE the napalm strikes, a USO show in the jungle at night, and the final bridge all lit-up like a Christmas tree. (for more realistic 'Nam War movies, try 'The Deer Hunter' or 'Platoon')

But what 'Apocalypse Now' lacks in historical accuracy, it makes up in artistic and dramatic scripting. Some of the best photography and lighting ever can be found here.

The film also raises some severe philosophical issues, and gives us entirely new ones. When the movie begins, the war is raging around us. It is chaotic and nerve-racking, yet still rational. When we finally get to Kurtz's base, the action has died down, but rational thinking has long since been vanquished to the point of total lunacy. This shows us the truth about men of war in times of war and peace. The voyage down the river has a sense of time travel (a sense that would have been much more apparent had the French Plantation scene remained.) And when you get to the end, keep in mind the old phrase: The King is dead... Long live the king.

Is Kurtz insane? Or are we not yet ready to understand him? These questions and more are up to you as 'Apocalypse Now has no easy answers.

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!