Apocalypse Now/Hearts of Darkness: Ch. 16

Posted in Movie of the week on May 21st, 2014 by bill

(1:53:53–1:58:49)

Almost two hours into Apocalypse Now, Willard is finally brought to meet Colonel Kurtz. After being herded into a dimly lit room that smells like “slow death…malaria…nightmares,” he hears a voice from out of the shadows.

“Where are you from, Willard?”

This is not just any voice. It is the voice of the Godfather, the voice that yelled for Stella, the voice that cried “I coulda been a contender.” It’s the voice of Marlon Brando: actor, Hollywood legend, force of nature.

At this historical remove, it seems impossible to imagine anyone other than Brando playing Colonel Kurtz. But right up to the last minute, there was a chance that he would bail; Coppola wanted more time to rewrite the ending, and Brando was threatening to take a powder and keep his million-dollar advance if the production was delayed. Contingency plans were made, and had things gone differently, Martin Sheen might have been playing these scenes opposite Robert Redford, Jack Nicholson, Al Pacino, or Robert DeNiro.
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Apocalypse Now/Hearts of Darkness: Ch. 15

Posted in Movie of the week on May 7th, 2014 by bill

(1:48:08–1:53:52)

This section, which might be called the “Prelude to Kurtz,” is made up of three smaller scenes:

1.
The Dennis Hopper character walks Willard into the compound, where he sees Colby, the original assassin. Hopper was originally cast as Colby, but given his condition, Coppola quickly figured out that he would not be convincing as a soldier. The part of Colby went instead to Scott Glenn, who in the released version of Apocalypse Now doesn’t even have a line. Deleted scenes in The Complete Dossier reveal that at one stage his role was quite a bit larger, including a scene where Colby kills the photojournalist and is in turn killed by Willard. As it is, he is more of an apparition than a character, but he does linger in the mind quite effectively.

There’s some great Dennis Hopper here, where he tries to explain in his semi-coherent way why, despite the evidence to the contrary all around them, Kurtz is not crazy.

The heads. You’re looking at the heads. I, uh…sometimes he goes too far. You know, he’s the first one to admit it!

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Apocalypse Now/Hearts of Darkness: Ch. 14

Posted in Movie of the week on April 25th, 2014 by bill

(1:41:55–1:48:07)

This is where Apocalypse Now enters its final act, the confrontation with Kurtz. If you wanted to divide it into three acts, I guess that the first act would go from the beginning to after the aerial attack; the second act would be the journey upriver; and the third act would be from here to the end.

Initially, the mood is somber and ominous. We see lots of fires and skulls, then Willard destroys his dossier as the boat winds its way through tall trees and cliffs, reminding one of the passage from Heart of Darkness (the book) quoted in Hearts of Darkness (the movie):

Hugging the bank against the stream, crept the little begrimed steamboat, like a sluggish beetle crawling on the floor of a lofty portico.

In fact, from this point on, Apocalypse Now follows Heart of Darkness much more than it does the original screenplay. After the boat reaches what appears to be the end of the road (river) and drifts through a coterie of spooky, white-painted natives, a figure straight out of Conrad pops up out of the crowd:

I saw a white man under a hat like a cartwheel beckoning persistently with his whole arm…(he) began to shout, urging us to land. “We have been attacked,” screamed the manager. “I know — I know. It’s all right,” yelled back the other, as cheerful as you please. “Come along. It’s all right. I am glad.”
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Apocalypse Now/Hearts of Darkness: Ch. 13

Posted in Movie of the week on April 16th, 2014 by bill

(1:35:23–1:41:54)

One purpose that the French Plantation scene, had it not been cut, would have served would have been to put some space between the deaths of Clean and Chief. As it is they come one right after the other, fulfilling the Hollywood cliche that nonwhites must die first.

I hate to dwell on the subject, which I already discussed in Chapter 12, but the racial subtext here is not buried very deep. No one who is familiar with common American racial slurs can miss the irony in the fact that Chief is killed by a spear, and even he seems aware of it. From the way he croaks out “A spear!” just before he keels over, it’s almost as if the irony is killing him more than the weapon.

And of course Chief’s last action before succumbing is to try to strangle Willard, and you could argue that this is less personal than symbolic. In this schema Chief represents every person of color who’s ever been sold up or down the river, and Willard is every white man who’s ever sacrificed others for reasons that are unclear at best and nefarious at worst. Viewing it through this lens, it’s hard not to root a little for him to finish the job — and he probably would have, were he not losing blood so fast.
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Apocalypse Now/Hearts of Darkness: Ch. 12½

Posted in Movie of the week on April 4th, 2014 by bill

Somewhere in here goes the French Plantation scene, which was excised from the original movie but restored in the Redux version. On the whole, I’d say it was a good cut; the scene is slow-moving, talk-heavy, and kills all the story’s forward motion. But it does have some historical interest and is worth a viewing or two.

In this version of the story, the boat finds refuge from the fog with a family of holdovers from Vietnam’s past as a French colony. Most of the scene is taken up by a formal French dinner where Willard gets into a long political discussion with the head of the family, de Marais, played by Christian Marquand. His gist can be summed up in a couple of sentences:

When you ask me why we want to stay here, Captain…we want to stay here because it’s ours. It belongs to us. It keeps our family together. I mean, we fight for that. While you Americans…you are fighting for the biggest nothing in history.

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Apocalypse Now/Hearts of Darkness: Ch. 12

Posted in Movie of the week on March 25th, 2014 by bill

(1:30:26–1:35:22)

Apocalypse Now is not exactly loaded with sentimentality, and one of the rare moments of overt — you might even say cheap — sentiment comes when Clean is killed by a tracer round fired from the jungle. At the moment of his demise he is listening to an audio letter sent by his mother, whose voice can be heard waxing optimistic about future grandchildren as her son’s corpse lies sprawled on the deck. (Kudos, by the way, to Hattie James, who I’m told is Larry Fishburne’s actual mother. She does an amazing job of sounding just like somebody’s mom would on a tape like this — stilted cadence, self-conscious laughter, and all.)

Some might call this instant (or at least rapid) karma, since it was Clean’s itchy trigger finger that set off the sampan massacre. Others might just say, eh, sometimes you eat the bar and sometimes the bar eats you. What you think probably says something about how you view the workings of this universe we live in. I prefer to leave it up in the air, which definitely says something about me.
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Apocalypse Now/Hearts of Darkness: Ch. 11

Posted in Movie of the week on March 14th, 2014 by bill

(1:21:37–1:30:25)

Fresh from the nightmare of the sampan, the boys on the boat find themselves in a different kind of nightmare at Do Lung Bridge. This time it’s dark and has a psychedelic quality; we are invited to view the proceedings through the eyes of Lance, who has indulged in that last hit of acid he was saving for a special occasion.

Not everyone would consider passing through a remote army outpost that is a favorite and frequent North Vietnamese target a special occasion, but Lance and his ilk are a breed apart. They like to take hallucinogens under what most people would consider the worst possible circumstances. The idea, I guess, is that if you are going to endure a harrowing, life-threatening ordeal, you might as well make it seem as much like a dream as possible. It should be less frightening that way, in theory at least.
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Apocalypse Now/Hearts of Darkness: Ch. 10

Posted in Movie of the week on March 7th, 2014 by bill

(1:15:32–1:21:36)

If you’ve seen Apocalypse Now a few times, you start to tense up when you hear Chief say “Sampan off the port bow” at 1:15:35. You know that what’s about to happen is going to be deeply unpleasant.

In Hearts of Darkness, Sam Bottoms says:

Francis had us write up lists of things that we wanted our characters to do. And I remember that we all decided that we wanted to do a sort of a My Lai massacre … an interrogation of a boat that ended in a firefight and the loss of many lives. We wanted to experience something like that.

Which is sort of a strange way to put it, but I take his point; they thought it would be illuminating to imagine the circumstances under which such an incident might take place. Coppola liked the idea, so they put together this scene, which is not in the original script.

According to The Wikipedia, “The My Lai Massacre was the Vietnam War mass murder of between 347 and 504 unarmed civilians in South Vietnam on March 16, 1968. It was committed by the U.S. Army soldiers from the Company C of the 1st Battalion, 20th Infantry Regiment, 11th Brigade of the 23rd Infantry Division. Victims included women, men, children, and infants. Some of the women were gang-raped and their bodies mutilated.” My Lai became a turning point in the Vietnam war, not in a military sense, but in terms of public opinion; for many Americans, it crystallized their unease about the war.

Likewise, the sampan incident is a turning point in Apocalypse Now. It is a tragedy that could easily have been avoided; Willard asks the Chief to ignore protocol and keep moving, but Chief insists on searching the boat in case it is carrying supplies for the Vietcong. This seems to be part of a pattern of Chief making perfectly reasonable decisions that have disastrous results, not unlike Captain Dallas in Alien.
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Apocalypse Now/Hearts of Darkness: Ch. 9

Posted in Movie of the week on February 28th, 2014 by bill

(1:07:24–1:15:31)

Another interstitial section, but this one has a slightly different tone. The boat has gone farther up the river and deeper into no-man’s-land, and the sense of menace is palpable. Everyone seems a little jumpy when they encounter another boat, but it turns out to contain friendlies, one of whom shoots the moon at our boys. It is followed by another boat that ups the ante prankwise, tossing a burning flare onto the PBR’s canopy.

This is a little over the top as pranks go; the flare starts a fire, there are a few panicky moments, and soon Lance is covering the roof of the boat with palm fronds like it was Sukkot or something. But the real importance of this event is not the damage it causes; rather it sets the stage for what is to come the next time the PBR encounters another boat. Back in high school we used to call this foreshadowing, if I remember correctly.
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Apocalypse Now/Hearts of Darkness: Ch. 8

Posted in Movie of the week on February 15th, 2014 by bill

(59:23–1:07:23)

Image assembled by Eduardo Saboya

“Sending girls like me to Vietnam to entertain the troops is like teasing a caged lion with a piece of raw meat.”
— Raquel Welch

This is one of the most unsettling scenes in Apocalypse Now; it is the proverbial dream that turns into a nightmare. At first the boat seems to have drifted into some sort of shangri-la; we see lighted domes and giant glowing columns that look like lipstick tubes. “This sho nuff is a bizarre sight in the middle of this shit,” says Mr. Clean with his usual understated eloquence.

At ground level, the place looks like a Vietnam War Costco, stocked with everything a soldier might dream of, from motorcycles to centerfolds to liquor. Chef asks the supply sergeant for Panama Red — not just weed, specifically Panama Red — and the guy says sure, no problem. The one thing they do have a little trouble getting is what they’re actually there for, fuel for the boat. Willard has to grab the sergeant by the collar and throw him around a little bit to get his attention; oddly, he seems to enjoy it, and responds with free booze and press box tickets to the upcoming show.

Ah, yes, the show; a very loud bar band cranks out a tasty version of “Suzie Q” as a copter lands and out steps Bill Graham himself, ideally cast in the role of MC/pimp. He tries to whip up some excitement, but the response is lukewarm until the crowd sees what he has brought them: girls.
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