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Apocalypse Now – 1979 Francis Ford Coppola
- Apocalypse Now is the second best film of all-time, which makes it the greatest war film, perhaps the greatest singular usage of set pieces in cinema, coppola’s finest film, amongst other praise I’d love to heap upon it.
- Coppola’s use of smoke as a visual device stuck out to me– so much dry ice/smoke is used in this movie. The colored usage during the wagner score attack and used by the emcee after the playboy bunnies dance. Atmospheric for sure. It seems like it’s the rare scene/set piece where it isn’t used.
- Synthesizer score. Of course the film has a brilliant rock and roll soundtrack and I just mentioned the wagner attack scene. You have jim morrison’s epic “the end” playing over the opening and finale. It’s devastating and, I think, the best two sequences of the film which would mean they rank amongst the greatest sequences in film history. You have the stones “no satisfaction” and then “Susie Q” during the bunnies’ dance. The simple guitar chord played while the boat finally arrives to brando’s camp is wonderful as well. However, this time, I was blown away by the near Vangelis-like blade runner synthesizer score that plays in-between these other elements. It’s eerie and a splendid addition to the score/soundtrack and of course legendary sound mixing achievement
- When I mentioned Coppola on my top 100 directors of all-time countdown I talked about the final bull slaughtering sequence and how I was one of the better editing sequences in cinema history. I think I’ll just have to add the entire film. Have you ever noticed just how many long dissolves there are in this film? I mean the opening has one, the finale has one, and there are just a ton in between. It’s extremely effective and beautiful and I wish more films used this. I can’t recall a film that leant more highly on the use of the dissolve edit.
- So successfully captures the lunacy of war
- Cinematographer Vittorio Storaro’s greatest achievement
- The opening sequence with the dissolves is really like montage that doesn’t fully edit. It so wonderfully blends the helicopter and ceiling fan with the face of sheen and the bombing of the jungle (which is either foreshadowing or a surrealism sequence—either way superb)
- It’s the greatest voice over narration of all time with all due request to taxi driver, clockwork orange and goodfellas amongst others – sheen’s vocal work is so impressive- he’d do it again, albeit briefly, in the opening of 1991’s JFK from oliver stone
- No opening credits at all
- Brando is an important piece of casting (despite the weight gain—which I think Coppola does a wonderful job of shooting around)—the role needs brevity—to a lesser extend the brad pitt character in assassination of jesse james needs a star as well. Magnitude.
- Grand scope, size, extras and clear attention to larger set pieces and ambitious filmmaking
- Meditation on the ridiculousness of war—some catch 22 in there- rock and roll, surfing, camera’/filmmaking them (with coppola as a cameo), bunnies… It’s a satire amongst other things
- Duvall’s 11 minutes on screen (Oscar nom) are electric
- Alice in wonderland similarities with set pieces, la dolce vita (the whole move is set piece to set piece) set up as well, Aguirre, wizard of oz
- The Madonna sequence in la dolce vita in comparison with the bunny sequence here. Lighting and spectacle while a criticism of those there
- Very very busy sound design. The greatest sound design ever
- Interlaces dissolves of sheen’s eye in close up with voice over
- Frederick forrest is electric- it’s his best performance as is hopper who is pitch perfect
- The do lung bridge sequence… it’s an absolute visual jaw-dropping set piece
- Coppola is a genius of, amongst other things, casting and talent, It cost him a fortune to reshoot it with sheen but he’s so perfect and coppola is well known for discovering talent (pacino, duvall, cruise, fishburne, lane, cage, talia shire (granted those 2 are family amongst others).
- The smoke as a visual is coppola designing mise-en-scene like a painter
- So many singular images to capture- amongst the best of them are the creative ways he lights brando
- Giant Masterpiece
Drake2020-07-03T10:31:27-04:00
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The Scott Glenn and Dennis Hopper characters are not present for the final ritual in Apocalypse Now because they actually died in the Original Screenplay. And those scenes were shot. In the edit, they cut those scenes out of the film. These are in a lower resolution in the Workprint version of the film. Also, some details like how the Robert Duvall character’s surfboard came to the boat and what happened to the body of one of the main characters only got revealed in 2001 with the Redux version 22 years after the Original release.
Frederic Forrest only works for me when he is playing insane, mentally unstable characters. Like here in Coppola’s Apocalypse Now and Argento’s Trauma.
Basil Dearden constantly used dissolve edits in most of his films. In something like The Ship That Died of Shame in 1955 he uses the dissolve with a character’s face and then the events that he witnessed in the next frame multiple times. A long dissolve is again used to show a character’s memory during a critical scene in The Mind Benders in 1963. But anyway, these are not one offs and the dissolve edit is the frequent editing tool in most of Dearden’s films I have seen. Other than the ones mentioned above it does makes for some nice imagery with the vast sea in The Ship That Died of Shame. And the extended scene in the fog with the creepy stranger.
P.S. -: Apocalypse Now goes dissolve crazy especially after the Albert Hall character dies and it absolutely works and adds to the creepiness that Kurtz and his followers are nearby. The other most dissolve heavy film I have seen from Coppola is his Dracula film and especially during Reeves’ journey to meet the Count in the early part of the film.
Doesn’t Tom Waits in Dracula play an extremely similar character to the one Dennis Hopper plays in Apocalypse Now? I don’t think the Tom Waits role is extremely important to the film but he is amazing in his scenes. Either when he is in full blown insane mode or in more toned down eerie scenes.
I was surprised when I saw Civil War how similar it is story wise to Apocalypse Now. It is essentially Apocalypse Now on road. There is a war going on. And they are trying to reach one particular powerful figure. They stop at various checkpoints like the Jessie Plemons scene, the town/shop trying to act like everything is fine, the petrol shed with the two soldiers etc. which are checkpoints like the Robert Duvall scenes, French Plantation, Playboy bunnies etc. in Apocalypse Now. And there is one particular scene with two snipers that is eerily similar to the bridge scene with the black soldier in Apocalypse Now. I loved the film overall but the cinematography/look of the film didn’t impress me. The sound effects are great too.
@Anderson- really well done
Do you consider Apocalypse Now an archivable film for Aurore Clement(Lacombe Lucien, Les Rendez-vous d’Anna)?
@Lionel- Yes, Apocalypse Now is an archiveable film for Aurore Clement
@Drake-Her scenes(French plantation) are not in the theatrical cut. That’s why I asked.
@Lionel- Right, understood
I don’t know why much has not been said about Albert Hall’s performance here as chief of the boat. I think he is amazing. I definitely think it is the best performance in the film outside the big 3 and over Forrest, Hopper. The arguments he has with Sheen is fascinating. He really loves the Fishburne character and is absolutely devastated when Fishburne dies. Then given a great death and finally snaps against Sheen. It’s a fantastic performance. There is a lot here.
@Anderson – I would check out the 1991 documentary called “Hearts of Darkness: A Filmmaker’s Apocalypse” as it details much about the production and probably would answer some of your questions. Part of the issue is Brando showed about like 100 pounds overweight so they had to find ways to hide his weight.
If you have not watched I would strongly recommend Werner Hertzog’s 1972 Masterpiece “Aguirre the Wrath of God”. Coppola has listed it as a significant influence.
I also liked the Albert Hall performance, not sure exactly where I would rank it compared to the others but the death of Fishburne’s character is one of the most emotionally shattering sequences in the film. I mean he’s basically still a kid.
There is a lot to like in the Redux. Some added sequences are absolutely stunning. One of them is the entry into the French Plantation and then the stunning funeral of Fishburne’s character. They are so good. Albert Hall has another great scene in this funeral scene. I think it is a very Oscar nomination worthy performance. He has the rage/intensity in his fights with Sheen but also shows so much vulnerability when Fishburne’s character dies. He has a great send off/death and a great close up too. It’s a great supporting performance. I don’t know how everyone missed it tbh.
I wasn’t too impressed with Brando’s performance the first time(probably because I watched the Redux) but on a second watch he is excellent. But there is a decent sized flaw in Brando’s character in that we never get to see the power he still has or how his followers still worship him like a god. He is just mumbling inside his room all the time. How can someone like that still has the ability to bring Frederic Forrest’s head to Sheen if he doesn’t have any power now? And if his followers are isolating him and just treating him like a distant deity? Feels like a scene is missing.
He can just order some of his followers to assault the boat, kill Chef and bring him the body while Sheen is locked up. I don’t see a plot hole there.
When did he even interact with his followers? That’s the point. The power he still has over his followers is vaguely depicted.
@Anderson – “The power he still has over his followers is vaguely depicted”
This is a true statement but I don’t think the mechanics really matter. Apocalypse Now is more about human evil and the madness of war than it is a Procedural film about The Vietnam War. Everything about the final 20 min or so is absurdly over the top and even some of the earlier parts of the film like the Robert Duvall chacter obsessing over surfing as there are explotions happening all around him
@James-I get it. But feels like there needs to be more of a balance between Brando mumbling in his cave alone and him still having the support/control over his followers. I’m not saying he should give a speech(he’s probably past that point now) but just at least something like the followers worshipping him lying down when he comes out or goes for a walk.
@Anderson It’s stated he goes on clandestine military operations still. When Willard first shows up at his temple, Kurtz is away with his guys patrolling or something. We even see some former soldiers among the followers. I don’t see how one takes away that Kurtz is inept, incapable of communicating or something. The decapitations around didn’t happen by themselves. There’s even a Redux scene where he wanders around with the children and shows Willard a Time magazine. He looks rather comfortable.
The “unsound methods” bit isn’t Kurtz charging in on the enemy with a machete, it’s how he commands his guerilla and what they do.
“It’s stated he goes on clandestine military operations still. When Willard first shows up at his temple, Kurtz is away with his guys patrolling or something. We even see some former soldiers among the followers. I don’t see how one takes away that Kurtz is inept, incapable of communicating or something. The decapitations around didn’t happen by themselves”
Brando is not actually on the screen in any of these scenes, is he?
What are those harmless children going to do and can we even count them as followers?
I’m not saying he can’t be violent now. And I’m not asking him to do any murders in daylight. But where is the control or power he has over his followers? The final scene shows the followers lying down and worshipping Sheen’s character. Where is this respect, godlike admiration for Brando’s character?
Sorry but I really feel like you’re grasping at straws here, or being intentionally obtuse. All the information is there to get a really good picture of what is going on there. The generals talk about it, Willard’s observations about the classified files on the boat talk about it, Hopper’s character talks about it, the background details of the temple ground is full of barbaristic events that Hopper explicitly attributes to Kurtz (if that does not indicate him having control of the place, I don’t know what does), Kurt’z ex soldiers can be seen among the tribe’s ranks. Having some kind of The Wire pilot around Kurtz’ hierarchy and organizational methods, or how in shape he is, would have been very out of place with the intention of the film and unnecessary bloating. The viewer doesn’t have to be handheld further.
The worshipping of Willard is also very telling. It’s ceremonial, “the king is dead, long live the king”. They probably don’t do it every morning for breakfast. If they do it here, following Kurtz’s killing, it’s just additional evidence that he was the previous top dog and this is a very significant development.
Shadowy of areas where the mind has to fill the gap are an essential part of cinema and a visual medium. In something like Stalker the powers of the zone and the threat it poses rest almost entirely on the imagination and faith of the viewer. This is lightweight in comparison. Maybe Kurtz just sneaked out, climbed a tree and dropped on chef, or Occam’s razor would favor sending a few of his troops to jump him and bring a head back. It doesn’t matter.
@Vaanila-I’m sorry man. I’m talking about Brando’s screentime here not about how the viewers should interpret the mystery surrounding this place.
75% of the time he is mumbling alone in his cave. And in the other 25% he is talking/interacting with Willard. He has no real interaction with his followers. It’s a decent sized flaw in the writing of Brando’s character. There needs to be a depiction of the godlike worship the followers still has for him when he is present. Brando needs to come out of the film set literally at least once imo haha. It’s not a major problem when viewing the film but it becomes apparent when remembering the film
Well I’ll hard disagree on the writing flaw bit and leave it there. FWIW however, I was a teeny slightly underwhelmed by Brando in comparison to the built up hype throughout the film. He’s good but I find Welles shined brighter in The Third Man for a similar part. Could be the dialogue as he doesn’t really look like the ubermensch genius everything else prior suggested.
The cave mumbling bit in the darkness is because the diva was fat and stubborn on set, though I think they worked around it well with the face in the shadows. Reminded me of Othello.
I am curious what version do people like best?
I just rewatched the Final Cut, I prefer it over the Redux (it trimmed about 20 min)
I am torn between the original cut which is as lean as possible and the final cut which has scenes that slow down the narrative (in particular the entire French plantation scene) but give a more epic feel to the film and offer a bit of reprieve from the brutality of the film which presents increasing levels of madness.
Perhaps it is just a matter of what mood you are in. Both the original and Final Cut are excellent, I guess I would go with The Final Cut but completely understand why people would prefer the original
Haven’t seen the final cut but I’ve seen both the other two this year. I think I like the film better when it’s lean but I love the extra scene of Brando reading the news paper. You can’t go wrong with either really. Overall leaning towards theatrical (which I saw first).
There is no Apocalypse Now or Duvall’s character for me without the epic introduction of Duvall’s character(Death From Above). This is sadly not in the theatrical version. I think the only weakness in this film is that there is no definitive final cut. I have to say the Final Cut is a bit unnecessary and a crash grab. It still has the French Plantation scenes(after the burial) and that conversation between Fishburne and Forrest about Forrest’s obsession with the Playboy bunny(with the naked photo). These are probably the weakest scenes in the entire film. More than the Playboy bunny sequences in the rain and Brando reading the Time magazine which was removed from the Final Cut. I think the right cut is the theatrical cut with Duvall’s introduction, the two-interconnected scenes of the crew stealing Duvall’s surfboard and Duvall looking for it in an airplane(creates a plot hole in the Theatrical when we clearly see Duvall’s stolen surfboard) and one final scene of Fishburne’s character’s burial at the French Plantation.(another plot hole where Fishburne’s corpse disappears in the Theatrical). Sadly this version doesn’t exist.
Duvall gives maybe the funniest performance in such an intense film, it is a unique performance in that way. He completely dominates the 15/20 min he’s in. Brando gets a lot of the praise (deservingly so) but I find Duvall to be phenomenal as well even if his role is not as crucial to the films success.
[…] Apocalypse Now – F. Coppola […]
I was going to suggest some movies with the best sound design, but could only muster a small group.
I found a nice list here: https://www.indiewire.com/gallery/films-great-sound-design-making-waves/making-waves-sound-designer-walter-murch-courtesy-of-aint-heard-nothin-yet-corp-2/
The link here is actually more about films that were important landmarks in cinema sound innovations than ones that have great sound in general, but it fits both questions nonetheless. I’d also add Raging Bull, The Conversation, and Dunkirk.
The works of David Lynch and Andrei Tarkovsky cannot be left out of the conversation on the greatest sound design in cinema. That being said, Apocalypse Now is the finest example; from end-to-end a sonic haze.
@Graham and @Zane- great work here- I think we mostly agree on Apocalypse Now. Coppola took sound design seriously– think of the train whistle in Pacino’s head as he kills Sollozzo & McCluskey. I’ve always thought Aronofsky has an ambitious take on sound design- particularly in his debut Pi.
Here are screenshots of the dissolves on Apocalypse Now, in case you update the review or for the 1979 update, in the comments of the tweet there are also more screenshots
https://mobile.twitter.com/LostInFilm/status/1380996212204130304
What are some of the greatest opening sequences of all time? I lack the audacity to attempt a ranked list, but here are some suggestions:
Apocalypse Now
Persona
Manhattan
Touch of Evil
8 1/2
Citizen Kane
La La Land
Blade Runner
Magnolia
The Godfather
Raiders of the Lost Ark
Inglourious Basterds
Last Year at Marienbad
The Hill
Strangers on a Train
Rear Window
Vertigo
Raging Bull
Once Upon a Time in the West
Tokyo Story
The Searchers
Double Indemnity
Sunset Boulevard
Written on the Wind
Breathless
Three Colors: Blue
The Wild Bunch
Cries and Whispers
Jaws
Annie Hall
Star Wars
Aguirre, the Wrath of God
Rumble Fish
Dead Man
The Big Lebowski
Punch-Drunk Love
Eternal Sunshine of the Spotless Mind
The Assassination of Jesse James
The Dark Knight
Inside Llewyn Davis
There are, of course, many more. Does anyone have additions?
Well, what do you know. I’ve already thought of five more:
Butch Cassidy & The Sundance Kid
A Clockwork Orange
The Shining
Fight Club
No Country for Old Men
So many Bergman films mentioned here but not The Seventh Seal?
Haha. In fact, I only mentioned two Bergman films (Persona and Cries and Whispers), but that’s a valid comment. The Seventh Seal deserves a spot.
Again, a couple more:
Network
Chungking Express
A movie i just saw The hustler depends heavily dissolves, there are easily more than 20 and these are not vague dissolves, where a direct cut should be used, are sustained.
Also the roaring twenties (although not so frequent) use dissolves in the news sections.
There are more, i just don’t remember, i mention them because i have them fresh in my memory.
And the reason it is not used is because it is considered amateur techniques according to the editors. It is also considered a classic and old-fashioned technique, they should not be used, instead goes the direct cut.
Okay i just saw Twin peaks fire with me in the theater and it makes great use of the dissolves, deserves to be added in this section, there are easily more than 10 sustained dissolves that are extremely effective.
As for the film, i did not understand anything at all, when i thought i began to understand something i felt much more confused.
Hey Drake,Which version of Apocalypse Now is better in your opinion?
@Radman– thanks for the comment. So I haven’t seen the newer “final cut” yet- look forward to it. I think both the original cut and the redux are spectacular– I go back to both of them– but have to admit I go back to the original more often.
And which version of blade runner is superior in your opinion?
@Radman– go with Final Cut if you can find it
Top 10 scenes/sequences in film history?
There’s an interesting documentary on the DVD about the making of the score.
If Apocalypse…is the best war movie all time, what is second?
@ Johnny henry- thanks for visiting the site and the comment. I have my entire top 500 here https://thecinemaarchives.com/2019/04/10/the-best-500-films-of-all-time/ so #2 would the Malick’s The Thin Red Line with Kubrick’s Paths of Glory #3 if we’re talking straight war movies
When the embargo lifts, where do you think Dunkirk will fall on that list? You’ve got it #4 of the 2010s, while The Thin Red Line sits #4 of the 90s, and Paths of Glory sits 14th of the 50s…
@Matt Harris– man that’s a good question. Well I need to see it again- that goes without saying but it has now been three years since the two viewings in theater in 2017– far too long. But gun to my head right now I’d say third– but only Apocalypse Now feels off the table in terms of ceiling.
I also don’t include things like Potemkin or Gone With the Wind where war is obviously a big part of the film- if I had to ask “is this a war movie?” I threw it out.
Thanks for the quick reply. I posted once before on your site, which I enjoy, with regards to Taxi Driver.
But that’s an interesting take. I only watched last year The Thin Red Line and liked it. It has the Malick feel. I love Tree of Life.
What compelled me to post today was because Deer Hunter is showing right now on cable. I’ve seen it a couple of times already so I can’t watch it again. It’s a tough one to watch multiple times as great as I think it is (that said I’ve seen Once Upon a Time in Hollywood and The Irishman at least 4 times each), but that’s what got me to wondering what your second favorite war film was (with consideration to your qualifier of straight war films).
I agree wholeheartedly with Apocalypse…as the greatest war film ever…no doubt, and maybe the greatest film of all time for all the reasons you mentioned. It’s absolutely devastating. I saw it as a 14 year old kid in the theater when it first hit with friends, and have seen it so many times since; more than I can remember over the years, including under the influence of LSD, which heightened the experience multifold.
I think I made one other comment here several months back (aside from the Taxi Driver one), but I can’t remember where exactly. It had to do with the lens that you use to view cinema.
I like the way you look at film. I especially liked your insight into the visuals on many of the Japanese films…Ozu in particular. Sansho the Bailiff being one of my personal favorite films of all time.
I was lucky to have a father who brought me to films when I was a kid like The Exorcist, Blade Runner, Alien, and The Shining among a few others. Memories that will never fade.
Sorry for the interlude. I was talking about the lens thing. I noticed in looking, just now, at your review of Apocalypse Now, that you spoke alot about Coppola’s use of sound in that picture.
But your focus seems to center it’s gaze on the visuals. Considering your attention to the visual aspect, where do you put story/narrative (script) as far as judging a film?
*it’s gaze, not it’s
@Johnny henry- great stuff here- that’s so cool about your father bringing you to those movies and making memories. Thanks for sharing. I think a good story/narrative is a major factor– somewhere behind the overall visual style and form of the film (often married to the narrative/story) but most often times ahead of the acting and say musical score and/or sound design. These are just my typical standard though- there are always outliers or films/filmmakers that excel at one aspect that make me rethink my “rules”. I’m pretty calculated about how I approach these films but I also acknowledge that this isn’t math with an inarguable equation and it isn’t sports with a clear winner/loser. Sorry for the long-winded response.
There was no reply button to respond, but thanks for your reply.
Do you think Martin Sheen should have won the academy award for best actor for Apocalypse Now?
@Janith. No, since he was not even nominated, he can’t win something he wasn’t nominated for, if he had, absolutely he deserved to win
Which version out of the 3 do you believe it is superior? Whits better represents the artistic power of Apocalypse Now ? If you were counting a version you don’t think it’s the best, Apocalypse Now would still be your #2 ?
@Cinephile. I guess I don’t think about them as much as separate films. I enjoy the longer gestation of the redux, but do find myself going back to the original more often. I have not yet seen the Final Cut. planning on that later this year. I guess I haven’t looked at it like I do Blade Runner with it getting better each time up to the final cut.
Undoubtedly a film worthy called “the greatest of all time”. What in your opinion are the things that make it #2 of all time ? Of course you express some of your thoughts here but if you have to sum it in few words what would that be?
As I said I have a problem with the Searchers as #1 ( I’m not that far, it’s my #14 of all time ) but you said Apocalypse Now was your #1 for a long time and then moved at #2. What made you put the Searchers ahead of it ? In your opinion what makes the Searchers superior?
@Cinephile– good questions. I think the editing specifically– this section here. I mean the set-pieces are jaw-dropping as well. With a film this great there isn’t one thing of course- and we all know that. But I would point to this.
——When I mentioned Coppola on my top 100 directors of all-time countdown I talked about the final bull slaughtering sequence and how I was one of the better editing sequences in cinema history. I think I’ll just have to add the entire film. Have you ever noticed just how many long dissolves there are in this film? I mean the opening has one, the finale has one, and there are just a ton in between. It’s extremely effective and beautiful and I wish more films used this. I can’t recall a film that leaned more highly on the use of the dissolve edit—
It may not be fair (again I’m really splitting hairs– but I just can’t get past the opening and closing of The Searchers. It blows me down every time. To be clear though if someone said “Apocalypse Now is greater” — I’d be like “ok”- haha.