Title: Apocalypse Now
Release Date: August 15, 1979
Director: Francis Ford Coppola
Production Company: United Artists | Omni Zoetrope
For the purposes of this review, I watched Apocalypse Now Redux, which I’d never seen before because it was streaming on Netflix and I was too lazy to go to the library for the original version. The main difference is that 49 minutes of footage was added to the film ballooning the length to 202 minutes. Apocalypse Now is definitely better without the extra footage, but I didn’t find it made the movie any less watchable. In fact the story is so episodic that it would be possible to slide in and out various scenes to make several cuts that worked.
I first saw Apocalypse Now in college where it was something of a cult film among many of the students. I watched the movie several times over a couple of years in the early 90s but hadn’t watched it since. The movie depicts the war in Vietnam through a graphic depiction of the violence and brutality of that war. Granted, it is not a very factual depiction of the Vietnam War, but one that catches the essence of the madness of that war through an adaptation of Joseph Conrad’s novel The Heart of Darkness. I read Conrad’s novel a couple of times in college and it was one of those books I struggled with maintaining my concentration. Although I do remember the narrator’s aunts advising him to wear flannel and write often from The Congo.
In the film, U.S. Army Captain Benjamin Willard (a very young-looking Martin Sheen) is ordered to sail upriver into Cambodia on a mission to assassinate Special Forces Colonel Walter Kurtz (Marlon Brando). Kurtz has gone rogue from the Army and set himself up as a cult leader and warlord of his own army of indigenous people and other Americans gone A.W.O.L. On the journey upriver, Willard and the crew of a Navy river patrol boat (which includes Laurence Fishburne when he was only 14!) have many strange and disturbing encounters with members of the U.S. military and Vietnamese civilians (and in Apocalypse Now Redux, a family of French colonist holdouts). The structuring of the film almost follows that of a fantasy story or of a mythological heroes journey.
Except that there are no heroes in this movie. The further Willard and crew go into the jungle the further they descend into the darkest parts of their psyches. Kurtz on the other hand, has seen the madness of the war and embraced the madness. And yes the metaphor of “the jungle” and “indigenous people” representing the worst of humanity is as problematic in this movie as it was in Conrad’s novel. But beyond that this is an excellent movie with considerable skill in its production and excellent acting all around.