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I’m a hardcore Apocalypse Now fanatic, and this, the fresh version of the film, is what made me one, several years ago. Reviewers like to debate endlessly over which version is better, this or the Redux. Personally, I like both, but I acquire this fresh version to be more surreal, relentless, and, to quote another reviewer, more “risky.” The fact is, Coppola passe different shots and edits in the Redux, in some cases diluting the surreal impact of the unusual. Plus the characters Kilgore and Kurtz near off more strongly in the original; obvious, we score to explore more humanity from Kilgore in the Redux, but his exit in the recent is mighty more memorable, worthy better than the “tossing megaphone into the air” antics as shown in the Redux. And Kurtz is a more considerable Rank One in the recent version, not remarkable more than a shadow.
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What gets me is that, in the press releases that came out with Redux, Coppola claimed that he no longer considered the 1979 version of Apocalypse to be “unique.” He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to acquire it more fresh. The thing is, the Redux is, if anything, MORE normal than the new. After all, you win more character development, a romantic subplot, etc; all the things the new (and fresh), recent version lacked. The very lack of these things is what gives the unique such a mysterious, unsafe edge. There is no levity in the current, no stealing of surfboards, no Playmates for the PBR crew. Only the shadowy jungle, and the mission.
If it’s suitable that Coppola wanted to get the modern version even more modern, then I wonder why he chose to add the Plantation sequence and the Playboy Bunnies escapade. Having seen the Work Print, I know that there is a wealth of material Coppola could’ve primitive. Bizarre? Recent? How about a scene in which Martin Sheen’s Willard, trapped in a bamboo cage, writhes in afflict as the montangnards (and Kurtz’s American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, mild in the cage, being questioned by Kurtz, who tells Willard that he’s as ragged as his “colleagues in Washington? ” Or how about possibly the most bizarre scene of all: Dennis Hopper’s Photojournalist being shotgunned to death by Scott Glenn’s character Colby?
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Coppola could have old-fashioned any or all of these scenes to invent a truly “recent” film, one that would successfully form a darker film. If anything, the extra scenes in Redux lighten the film’s mood. Coppola could have even improved on the demolish of the movie. That’s one thing that’s always bothered me about Apocalypse Now. Willard’s hired to cancel Kurtz; when he finally does, all he has to do is impartial slither into Kurtz’s temple, recall out one guard, and then gather to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This scrape is solved in the Work Print, which features Willard taking on a host of guards, including one homely scene in which he spears an American guard who cowers tedious a young, Vietnamese boy. Now, if you ask me, that’s more “new” than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to utilize these scenes, in either official version of the film.
I don’t intend to mislead, though. I reflect the Redux is heavenly, a five-star movie. It expands on the broader themes of Apocalypse Now, but at the same time lessens the impact of the movie itself. After having watched the Redux a few times, I popped the fresh in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so great more psychedelic and surreal. Even the fades and images shown in the beginning and the raze are different in the unusual, more disturbing. And that’s the main incompatibility between the two versions: the novel is powerful more disturbing.
I’ll do with another quote, taken from the web. Which director do you reflect is better, the Francis Coppola of 1976/1979, or the Francis Coppola of 2001? Of these two very different directors, whose vision would you be more willing to trust?
1/27/09 update: Six years ago I also had a review for the “Redux” DVD here on Amazon. Somehow it’s been removed from the state — it seems Amazon has combined the reviews for the modern Apocalypse Now DVD release with the reviews for the “Redux DVD” release. And since Amazon has a policy that a reviewer can only post one review per item, it appears that my “Redux” review got the boot. I’ve rescued it from oblivion via a Google cache search; please stare the Comments allotment, below, for the review.
This review refers to the Widescreen Collection(Paramount) DVD edition of “Apocalypse Now – Redux”……
In 1979′s “Apocalypse Now”, Francis Ford Coppola presented us with a mesmerizing, elegant gaze at the horrors of Viet Nam. It was a film that looked at the hearts and minds of the soldiers and the effects the brutualities had on them. A graceful work at the time, you wouldn’t gain it could be any better. But now, more than 20 years later(and well worth the wait), Coppola has seen his vision completed, with the reediting of the film and the addition of previously deleted scenes, to bring us this gift of the even more mesmerizing “Apocalypse Now Redux”.
There is an additional 49 minutes now, and although I don’t feel that every limited of it was necessary to making this classic film an even better one, there is a original fable here that helps us portray to the frame of mind of the soldiers. A scene where the boat crew takes time out for a rendevous with the playboy bunnies is one example of that.And although this scene may be a bit of a shocker at first, as it introduces a sexual situtaion where it was previously non exsistent, it gives us a greater conception of what’s going on in their heads. The added scene of the time spent on the French Plantation was again an eye-opener, and the funeral for “Mr. Well-kept” also was a welcome addition as it gives us a closure to the closeness we felt to this character. And of course, a cramped more time with the insane Colonel Kurtz was enlightning as well (who wouldn’t want to expend a miniature more time with any character of Brando’s? ) .
The novel film from 1979 received 8 nominations by Oscar, including Best Describe, Director, and a supporting actor nod for Robert(“I admire the smell of Napalm in the morning”) Duvall. It took home well deserved Oscars for Cinematography(Vittorio Storaro) and Sound.
It stars Martin Sheen as Lt. Willard, who beset with his believe emotional problems is sent on a uncertain mission to “end” the esteemed Col. Kurtz, played brillantly by Brando, who has now been driven insane by “The Terror” of it all. Willard is escorted into the wilds of Cambodia by a boat crew including a young Laurence Fishburne and Frederick Forrest. You will also procure Dennis Hopper, Harrison Ford, Sam Bottoms,Albert Hall, and Christan Marquand in this wonderful cast.
The DVD is beautifully remastered. You won’t miss a thing with the widescreen presentation and the amazing Dolby Digital 5.1 Surround sound. The colors and sounds of the jungles are captured wonderfully.There are no Special features, but may be viewed with English subtitles is needed. The scene selection does expose which are the original scenes which is quite trustworthy if it’s been a while since you’ve seen it.
Still can’t settle between the recent and the Redux. This film is a admire in any compose. It’s a part of cinematic history that’s probably worth getting both editions if you can. If not, give this one a try. It’s a must for fans of classic cinema.
“Never Glean Out of The Boat”….Lt. Willard….thanks and appreciate..Laurie
recommended reading:Into the DMZ A Battle History of Operation Hickory, May 1967, Vietnam(search for my review for details)
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