Apocalypse Now By Francis Ford Coppola Reviewed

Coppola is one of those directors who’s tried his hand at everything, never really settling down. He’s so in love with the cinema, so curious, that he’s never truly satisfied to return to the same subject matter twice. In fact, outside of the Godfather films, he’s never really revisited a genre. So Apocalypse Now is, at once, a definition of what he did, and nowhere near a definition of what he did. It doesn’t contain any of Coppola’s usual stylistic touches because he really has no formula or pattern for how he makes his films, and that’s why it is his signature film.

The film is, supposedly, based on the novel Heart of Darkness, but to be completely honest, there are really only a few key parallels, some similar scenes. The movie itself is an entity all its own. Benjamin J. Willard, played by Martin Sheen, is our lead, a special operatives agent, an assassin, who is slowly going stir crazy awaiting his next assignment.

The only thing he wants is to be put back into action, thriving on the blood lust and having no other purpose in life than to fight. He rots away in his room as choppers fly over head, going stir crazy while awaiting the next assignment.

When Sheen punches the mirror, that wasn’t in the script. In fact, the entire production of the film is a tale of legend, of insanity, of incredible difficult and of more odd and unusual happenings than even occur in the film itself. We could discuss them more in depth, but that would take more time than we have for this review, so we’ll just focus on the film for now.

The movie is simply loaded with unforgettable characters. Without even discussing the main cast, we have Cockroach, a youth from Harlem capable of sleeping through the most intense battle, waking up to launch a perfectly arced grenade at an enemy hiding in the shadows, eliminate him, and go back to sleep. We have Dennis Hopper as a maniacal photo journalist, and Robert Duvall as Lieutenant Colonel Bill Kilgore, a mix of samurai, Patton and surfer dude, sending his men out to hit the waves amidst napalm detonating against the beach.

This isn’t even getting into the main cast, these characters appear for one scene and then disappear from the film forever. Marlon Brando as Colonel Kurtz doesn’t even appear until the very end, but his presence, his mere existence, casts a shadow that commands the entirety of the film, despite his limited screen time, or perhaps, mythologized by his non-presence.

The film succeeds on every possible level. It is endearing, at times, when you see the camaraderie between the men on Willard’s boat. It’s funny, it’s exciting with some of the greatest action set pieces ever put to film, it’s a jaw dropping piece of cinematic art, yet… The pessimism, the nihilism of the two main characters, Willard and Kurtz, eventually takes over and overwhelms every other aspect of the film.

Coppola himself claims Rumble Fish as his personal favorite amongst his own work, but his fans are typically split between Apocalypse Now and The Godfather Part 2. It’s up to the individual viewer, but this one is, at the very least, his most insane.

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