Francis Ford Coppola Debuts ‘Apocalypse Now: Final Cut’ at the Tribeca Film Festival

This is not a recapitulation of the production (Eleanor Coppola did that), a summation of how and why there is now a definitively subtitled Final Cut (Francis Ford Coppola did that), or a conveying of the power that comes with seeing Apocalypse Now projected big and played loud (I don’t want to do that). Nor is it a review, which at this point is not unlike describing The Last Supper to Renaissance enthusiasts.

So, yes: Final Cut. The words conjure up hope for those who love pieces of Redux‘s approximately seven-hour additions, start shifting in their seat once Col. Kurtz appears in full daylight–one of many choices suggesting a work best left carved-down–yet are unable to shake Coppola’s assertion that the original iteration isn’t actually quite to the level of weird for which he’d aspired. Those who prefer going theatrical will likely roll
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