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Repeat Viewing: Apocalypse Now (1979, Francis Ford Coppola)
TSPDT placing: #44
Directed by: Francis Ford Coppola
Written by: Joseph Conrad (creative), Francis Ford Coppola (screenplay), John Milius (screenplay), Michael Herr (relation)
Starring: Marlon Brando, Martin Glow, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fishburne, Albert Lecture-hall, Harrison Ford, Dennis Hopper, Scott Glenn
Distant from the bulk of war films, Apocalypse Now (1979) is not de facto about war, or, at least, it is only superficially so. The more significant conclusion to be fatigued from Francis Ford Coppola's ambitious master-work is how the horror of war reveals the ultimate truths of our duration; how it exposes and illuminates the darkened shadows of the kind-hearted psyche. The story was adapted, very loosely, from Joseph Conrad's "Sympathy of Darkness (1899)" – a novel not without its interest, but one that I found rather irksome reading. Coppola transplants the story-line from the Congo jungle to the murky depths of the Vietnam War, which in 1979 still pink a bitter taste in the mouths of American audiences. The allegory of a man, on the brim of madness, choosing again and again to pursue his own nefarious upriver is equally relevant in any backdrop – Nicholas Roeg's Ticker of Darkness (1994) was, from what I gather, a more established retelling of Conrad's tale, while Werner Herzog's Aguirre, The Wrath of God (1972) uncovered the darker side of Man in the dishearten heart of 16th century Peru.
"We had access to too much readies… too much equipment. And, little by unimaginative, we went insane." Fresh from the amazing success of The Godfather (1972), its result and The Conversation (1974), Francis Ford Coppola was among the most respected filmmakers of his era. For his yearn-awaited next project, he decided upon Apocalypse Now, then removed to the extent to which the film would crush his character. As grippingly documented in the unmissable making-of documentary Hearts of Darkness: A Filmmaker's Apocalypse (1991), the coat's production parallels that of the story it depicts – an manful director embarks on an impossible activity, its conclusion unknown, choosing against his control superiors judgement to continue filming at any payment, risking insanity and financial destruction. A modest on-location shooting days soon ballooned into nearly 16 months; typhoons destroyed dear sets; leading man Martin Gloss suffered a heart attack and battled alcoholism; the Philippine military many a time whisked away their helicopters to be acquainted with in active combat against rebel insurgents. It was Agony broken loose – for Coppola, the apocalypse had arrived.
The cover's screenplay, by Coppola and John Milius (with Willard's voiceover penned by Michael Herr), still retains many of the themes of Conrad's source novel, with Kurtz's distaste for British Colonialism replaced with his distaste at the needless hypocrisy of the United States' interventionism. Captain Benjamin Willard (Martin Glow) certainly isn't a typical war hero; even at the haziness's beginning, he sits at the verge of crack-up. As he lounges in a sweaty Saigon motel accommodation, Willard contemplates the seductive reek of a napalm strike, equates the beating of the ceiling fan with the muffled whirr of a military chopper; he craves the horrors of the jungle contest, and he's not alone. Many lesser war films are content to adjust on the age-old cliché that "war is hell," before hypocritically celebrating the overblown heroism of its face soldiers. Coppola here does no such feature. In Vietnam, soldiers are mere pawns in this preposterous, sadistic mockery of life and general sense; and war creates no heroes, but turns us all into monsters.
Note the leftist dwindling of humanity as Willard works his way upriver. At the river's entry-way, the laid-back Lt. Col. Kilgore (Robert Duvall) casually goes about his duties, launching an iffy aerial assault on a Vietnamese village (to the pompous notes of Wagner's "Ride of the Valkyries") purely because of the shore's ideal surfing conditions. This cool fool retains enough compassion to accomplish water to a dying enemy soldier, but discards the canteen as right away as he notices the arrival of a famous American surfer. We course upstream: a love-sick mob of recruits destroy a USO show, a boatload of Vietnamese civilians are gunned down in a concern of panic, a final American outpost – constantly under box by the Viet Cong – operates without any anatomy of command. By the time they reach Colonel Kurtz's (Marlon Brando) outpost in Cambodia, where natives have idolised him as a demi-god, Captain Willard and his surviving crew have shed every last sliver of mollify, purpose and humanity. They progress, as in a deaden-induced haze, towards the now-inescapable way in of madness.
Watching Apocalypse Now – outstandingly in the cinema, as I recently did – was an extraordinarily healthful experience, and I left the theatre with a gelid chill down my spine. As a work of mist-making, it is, to quote Colonel Kurtz, "apt, genuine, complete, crystalline, modest." Vittorio Storaro's on-location cinematography is completely breathtaking in its breadth and immediacy, shifting gradually from the unrestrained-air theatrics of Kilgore's morning aerial pounce upon to the closed, claustrophobic shadows of Kurtz's parasynthetic. At the long-awaited premiere, Coppola described his videotape, perhaps a tad pretentiously, as "not about Vietnam, it is Vietnam; it's what it was at bottom like." I'm inclined to agree. With reverence to Steven Spielberg's accomplishments in Sparing Private Ryan (1998), I'd think up that the human experience of war is not one of terrifying realism and limpidity, but of a dream, the sensation of stumbling through a surreal carnival prostitution of horrors. In the final moments, as that concealment of a helicopter flitters across the screen, we be informed that, wherever he goes from here, Willard will never truly give up the jungle.10/10
Currently my #1 fade away of 1979:1) Apocalypse Now (Francis Ford Coppola)
2) Skazka skazok {Story of Tales} (Yuriy Norshteyn)
3) Alien (Ridley Scott)
4) Being There (Hal Ashby)
5) Stalker (Andrei Tarkovsky)
6) Kramer vs. Kramer (Robert Benton)
7) The China Syndrome (James Bridges)
8) Manhattan (Woody Allen)
9) Mad Max (George Miller)
10) Invariable II (Sylvester Stallone)
What others have said:
"What's countless in the film, and what will make it live for many years and represent to many audiences, is what Coppola achieves on the levels Truffaut was discussing: the moments of misery and joy in making cinema. Some of those moments terminate at the same time; remember again the helicopter sortie and its unsettling juxtaposition of horror and exhilaration. Call to mind the weird beauty of the massed helicopters lifting over the trees in the lengthy shot, and the insane power of Wagner's music, played loudly during the disparage, and you feel what Coppola was getting at: Those moments as usual in life as art, when the whole huge grand nebulousness of the world, so terrible, so beautiful, seems to stick together in the balance."Roger Ebert, 1979
"Some up to date commentators have attacked Herr's recounting for its literary posturing, but his rhetoric isn't any more overheated than the super cinematography by Vittorio Storaro or Murch's druggy audio effects. Those effects, like the ones in Coppola's earlier film over, The Conversation (1974), probably limit Murch as a coauteur; what he does in the inauguration sequence -- getting us from helicopter blades to the blades in a ceiling fan -- is as radiant as any of the lap dissolves. Literary or not, Herr's hyperbolic language... may be the best writing we have about American war in Vietnam."Jonathan Rosenbaum
"Francis Ford Coppola’s Vietnam-era update of Joseph Conrad’s influential novel Heart of Darkness, Apocalypse Now is an hallucinogenic drive into the jungles of the Far East. It is also occasionally flaccid, cryptic and obtuse. Yet, it manages to overcome these flaws to position as a fascinating study of the nature of badness in man. Unfortunately, the journey is more interesting than the stop. Even a drug addled, frenzied Dennis Hopper cannot lift the scenes at Kurtz’ tent to the level of the rest of the film. Brando seems sedated, rather than morally bankrupt and irksome. Why would anyone worship him as a god?"Dan Jardine
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