After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
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...Written by
In the opening scene when Willard is in his apartment, before he punches the mirror there is already a blood stain on his sheets. See more »
Saigon... shit; I'm still only in Saigon... Every time I think I'm gonna wake up back in the jungle.
When I was home after my first tour, it was worse.
[grabs at flying insect]
I'd wake up and there'd be nothing. I hardly said a word to my wife, until I said "yes" to a divorce. When I was here, I wanted to be there; when I was there, all I could think of was getting back into the jungle. I'm here a week now... waiting for a mission... getting softer. Every minute I stay in this room...
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There are no opening credits in the film. The title can be seen as graffiti in the Kurtz compound late in the film. See more »
A 289min long workprint version exists. It has never been officially released but circulates as a video bootleg. The bootleg contains the following extra material not included in either the original theatrical release or the "redux" version.
A longer opening montage, the entire 10 minute song "The End" by The Doors is heard.It intercuts longer helicopters/jungle images with Willard in the hotel room in a drunken rage, as well as a scene where he is with a prostitute. There are various shots outside depicting the streets of Saigon.
When the two soldiers pick up Willard in the hotel room there is a brief conversation while they help him shower and shave. They notify him that his wait for his new mission is now over.
The scene where Willard is given his assignment is longer and contains much more dialogue. The general informs Willard that the mission is purely voluntary and he can decline it. The general also offers Willard a promotion to major upon completion of the mission. For some reason Colonel Kurtz is referred to in this scene as "Colonel Leevy". There are some external shots of the military base.
A brief scene where Willard is introduced to the crew of the Navy P.B.R.
Carmine Coppola's score is not present in this version. Many more songs by The Doors are played throughout the film instead.
None of the narration or dossier voiceovers are in this version.
There is no audio dubbing in this version. All the audio is from the sound recorded during the actual filming. Much of Robert Duvall's dialogue is unitelligable due to the sound of the helicopters in his scenes.
A much longer first cavalry "Ride of Valkyrie" attack scene (30+ mins)showing much unused footage and alternate takes.
A much longer playboy bunnies performance.
Various extended scenes on the boat, and alternate takes and shots.
A scene where a miniature toy boat passes the Navy PBR. Lance tries to grab it out of the water. The Chief yells at him to leave it alone claiming it's a booby trap. To prove it the Chief fires some shots at it to which it explodes.
When the P.B.R. reaches Do-lung bridge, the soldier that greets them gives a more detailed explanation of the chaos around the bridge.
When Lance is reading his letters on the boat, he suddenly stops to machine gun a water buffalo on the shore. The Chief yells at him to stop.
The sequence where Clean is killed is omitted.
A slightly longer French plantation sequence. After the French woman strips she crawls into the bed with Willard and they begin kissing.
The sequence where the Chief is killed is omitted.
More dialogue between Willard and the photojournalist when they first reach the Kurtz compound. The Journalist reveals that it was HE who was able to get the montangnards to break off their attack on the boat in the previous scene. Willard repeatedly asks the Journalists name but he refuses to answer.
The character of Colby, (the soldier who was sent before Willard to kill Kurtz, played by Scott Glenn) has a much more substantial role in this version. As Willard inspects the compound, Colby tells Willard that the night before, NVA soldiers had attacked (which explains all the bodies laying about the compound). Willard then enters Kurtz's house, much to the dismay of the journalist. Willard sees Kurtz empty bed and his medals, also his journal with the inscription "Drop the bomb, exterminate them all" (many of these scenes were in the final version but re-inserted in different places).
The scene where Willard talks to Chef about the air strike on the boat is omitted.
In this version. The first time Kurtz appears is the scene where a mud caked Willard is tied up (seated) to a pole in the rain. Kurtz appears with camouflage face paint, Willard asks...."Why he is being mistreated?" and tries to bluff his way past Kurtz by telling him that he had just completed a secret mission in Cambodia, and only stopped for supplies. Kurtz says nothing to him, but plants Chef's head in his lap. (Only a portion of this scene was in the original version).
The scene where Willard meets Kurtz in his bed chamber contains more dialogue....as Kurtz makes it clear that he knows why Willard is there.
A scene where Kurtz talks to Willard in the bamboo cage while two children sit on top of the cage and dangle insects in Willard's face. He tells him that Willard is "like his colleagues in Washington, master liars who want to win the war but don't want to appear as immoral or unethical".
A lengthy scene where the montangnards in a ritualistic display pick up the bamboo cage (with Willard inside) and poke him with sticks (Lance and Colby participate in this). The natives dance around the bamboo cage, chanting and singing while a squealing pig is tied up and killed.
A 10 minute version of the scene where Kurtz reads the poem "The Hollow Men", intercutting between his reading and the journalist talking with Willard.
A scene where the journalist meets Willard to tell him that he thinks Kurtz is about to kill him because he took his picture again. During which Colby comes behind the journalist and shoots him three times, killing him. Willard throws a knife at Colby's stomach to which he falls, but before he dies he asks Willard to talk to his family for him and asks him to kill Kurtz.
Kurtz speech about the horror and the children vaccination are omitted.
During the assassination scene at the end, before Willard enters Kurtz' home, one of the guards confronts him. Willard picks up a spear to defend himself as the guard picks up a child to shield himself. Willard runs the spear right through the child and into the guard. The final scene with Willard and the montangnards after Kurtz assasination are omitted.
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.
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