Francis Ford Coppola's 40-year final cut of Apocalypse Now (1979) to rate and review both versions separately. *duration: 3 hours (original: 2h27m, Redux: 3h22m), *remastered to 2019-sound and picture quality, *+ a 5 min introduction of Coppola.
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
Marlon Brando improvised a lot of Kurtz's dialogue, including an 18-minute speech, two minutes of which survived the final cut. According to Peter Manso's "Brando", Meade Roberts, screenwriter for The Fugitive Kind (1960), later heard the entire monologue, and said that while some of it was incoherent, most of it was brilliant. At the end of the speech, Brando reportedly said to Francis Ford Coppola, "Francis, I've gone as far as I can go. If you need more, you can get another actor." See more »
Shadow of dolly and crew just before the scene with the news crew. 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 »
There are four different treatments of the end credits, all four are available in different VHS, laserdisc, DVD and TV prints of the film......
When the film premiered in a limited 70mm format, it had no beginning or end credits, nothing but a one-line Omni Zoetrope copyright notice at the end. Programs were passed out to theatre goers in lieu of any credits (this ending was used for the theatrical cut featured on the 2011 Blu-Ray release).
When the film went into its wide release its format was 35mm. This version included end credits rolling over surrealistic explosions and burning jungle, showing the Kurtz compound being destroyed (included as a deleted scene on the 2011 Blu-Ray release, with optional commentary from Coppola).
When Coppola heard that people were assuming that the explosions during the end credits of the 35mm version meant that an air strike had been called in on the Kurtz compound (which is not what he wanted audiences to think) he quickly re-edited the 35mm version to have the end credits rolling over a simple black background and a slightly altered musical score.
The "Redux" version also has the end credits over a black background but in different screen fonts and including additional "Redux" inserted cast members.
This movie changed the art of film making, telling a complex story in a powerful new way. The film mixes brutal realism with fantasy, intercutting a modern war with strange scenes full of technicolour smoke. The film uses music not as a score laid in later, but as a practical part of the scene playing from speakers, radios etc. Coppola uses a classic piece of literature as inspiration, taking scenes and characters, and putting them into entirely different surroundings. That is a tricky and brave thing to do. Then he takes a superstar, Brando, pays him a fortune, and films him so that you can barely see his face. The pure guts that such a move requires is astounding, and it works beautifully. This movie belongs in the top ten.
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