Apocalypse Now

Colonel Kurtz has disappeared within the jungle, with his troupe of fighting fiends ready to rumble, you've been tasked to take him out, but first you have to search and scout, along a river where the residents are disgruntled (to put it mildly). Lots of bloodshed, bullets, ballistics then flow, there's napalm too that conjures up a glow, many lives are lost and taken, in this hell where you're forsaken, but don't ask why - because nobody, really, knows.

Still a spectacular piece of filmmaking that demonstrates on many levels the destruction, physical and mental that armed conflict causes, and yet we perpetually fail to learn from past events.

I first saw APOCALYPSE NOW in 1985 when it was broadcast on British television for the first time . I was shell shocked after seeing this masterpiece and despite some close competition from the likes of FELLOWSHIP OF THE RING this movie still remains my all time favourite nearly 20 years after I first saw it

This leads to the problem of how I can even begin to comment on the movie . I could praise the technical aspects especially the sound , editing and cinematography but everyone else seems to have praised ( Rightly too ) these achievements to high heaven while the performances in general and Robert Duvall in particular have also been noted , and everyone else has mentioned the stark imagery of the Dou Long bridge and the montage of the boat traveling upriver after passing through the border

How about the script ? Francis Ford Coppola is best known as a director but he's everyway a genius as a screenwriter as he was as a director , I said " was " in the past tense because making this movie seems to have burned out every creative brain cell in his head , but his sacrifice was worth it . In John Milius original solo draft we have a script that's just as insane and disturbing as the one on screen , but Coppola's involvement in the screenplay has injected a narrative that exactly mirrors that of war . Check how the screenplay starts off all jingoistic and macho with a star turn by Bill Kilgore who wouldn't have looked out of place in THE GREEN BERETS but the more the story progresses the more shocking and insane everything becomes , so much so that by the time reaches Kurtz outpost the audience are watching another film in much the same way as the characters have sailed into another dimension . When Coppola states " This movie isn't about Vietnam - It is Vietnam " he's right . What started off as a patriotic war to defeat communist aggression in the mid 1960s had by the film's setting ( The Manson trial suggests it's 1970 ) had changed America's view of both the world and itself and of the world's view of America

It's the insane beauty of APOCALYPSE NOW that makes it a masterwork of cinema and says more in its running time about the brutality of conflict and the hypocrisy of politicians ( What did you do in the Vietnam War Mr President ? ) than Michael Moore could hope to say in a lifetime . I've not seen the REDUX version but watching the original print I didn't feel there was anything missing from the story which like all truly great films is very basic . In fact the premise can lend itself to many other genres like a western where an army officer has to track down and kill a renegade colonel who's leading an injun war party , or a sci-fi movie where a UN assassin is to eliminate a fellow UN soldier who's leading a resistance movement on Mars , though this is probably down to Joseph Conrad's original source novel

My all time favourite movie and it's very fitting that I chose this movie to be my one thousandth review at the IMDb

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.

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!

As I stated above, I think that the 2000 version of the film ought to be treated separately. The Redux is not just a longer version. It contains two new and important scenes, and one of them, the "french" episode, adds a whole new touch to a classic movie, WITHOUT breaking the atmosphere or disturbing the overall picture. I remember as I saw the Redux for the first time, that my whole understanding of the war in Vietnam changed, and how I had to go to the library and get an update on a few things. Also it is interesting that Coppola chose the year 2000 for the longer Redux. My guess is that he feels that the movie is as important today as it was back in 1979. He even went to the trouble of making an excellent piece of art even better, in order to actually make all the old fans see the new stuff, and to present a whole new generation with a very controversial and strong comment on one of the most bloody wars in recorded history. The movie is thought-provoking indeed, but also it has a visually very beautifully composed screenplay. Capturing the madness and chaos of war the storyline is also filled with more or less obvious metaphors and philosophical or existential riddles. A friend of mine called it "the most philosophical of all movies" - perhaps an overstatement - in my opinion it is just a very good film about war and the politics of war. But I can see that there is plenty for everyone here. What I'm saying is that it's one of those movies that you are likely to hear distinctly different opinions about, and you are most probably going to think again and again about it. I've seen the Redux 5, 6 or 7 times, and it is always a puzzling experience. Highly recommended.