Apocalypse Now - The Complete Dossier (Two-Disc Special Collector's Edition) (1979) Review

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(More customer reviews)I'm a hardcore Apocalypse Now fanatic, and this, the original 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 find this original version to be more surreal, relentless, and, to quote another reviewer, more "dangerous." The fact is, Coppola used different shots and edits in the Redux, in some cases diluting the surreal impact of the original. Plus the characters Kilgore and Kurtz come off more strongly in the original; sure, we get to see more humanity from Kilgore in the Redux, but his exit in the original is much more memorable, much better than the "tossing megaphone into the air" antics as shown in the Redux. And Kurtz is a more powerful Evil One in the original version, not much more than a shadow.
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 "unusual." He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to make it more unusual. The thing is, the Redux is, if anything, MORE normal than the original. After all, you get more character development, a romantic subplot, etc; all the things the unusual (and unique), original version lacked. The very lack of these things is what gives the original such a mysterious, dangerous edge. There is no levity in the original, no stealing of surfboards, no Playmates for the PBR crew. Only the dark jungle, and the mission.
If it's true that Coppola wanted to make the original version even more unusual, 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 used. Bizarre? Unusual? How about a scene in which Martin Sheen's Willard, trapped in a bamboo cage, writhes in pain as the montangnards (and Kurtz's American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, still in the cage, being questioned by Kurtz, who tells Willard that he's as weak 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?
Coppola could have used any or all of these scenes to make a truly "unusual" film, one that would successfully create a darker film. If anything, the extra scenes in Redux lighten the film's mood. Coppola could have even improved on the end of the movie. That's one thing that's always bothered me about Apocalypse Now. Willard's hired to murder Kurtz; when he finally does, all he has to do is just walk into Kurtz's temple, take out one guard, and then get to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This problem is solved in the Work Print, which features Willard taking on a host of guards, including one grisly scene in which he spears an American guard who cowers behind a young, Vietnamese boy. Now, if you ask me, that's more "unusual" than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to use these scenes, in either official version of the film.
I don't intend to mislead, though. I think the Redux is fine, 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 original in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so much more psychedelic and surreal. Even the fades and images shown in the beginning and the end are different in the original, more disturbing. And that's the main difference between the two versions: the original is much more disturbing.
I'll finish with another quote, taken from the web. Which director do you think 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 site -- it seems Amazon has combined the reviews for the original 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 see the Comments section, below, for the review.

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Nominated for 8 Academy Awards, this classic and compelling Vietnam War epic stars Martin Sheen as Captain Willard, who is sent on a dangerous and mesmerizing odyssey into Cambodia to assassinate a renegade American Colonel named Kurtz (Marlon Brando), who has succumbed to the horrors of war and barricaded himself in a remote outpost.Also stars Robert Duvall, Laurence Fishburne, Dennis Hopper and Harrison Ford.

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Hearts of Darkness - A Filmmaker's Apocalypse (1991) Review

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(More customer reviews)Subtitled, "A Filmmaker's Apocalypse", this 1991 film is a documentary about the making of "Apocalypse Now", the 1979 film based on Joseph Conrad's "Heart of Darkness". Set in Vietnam, it is the story of a captain, Martin Sheen, and his crew's mission to find and kill an insane colonel, Marlon Brando, who had created his own kingdom deep in the Jungle. On the way, everyone is touched with the evil around them. This summer I saw the re-edited version of the film and have been intrigued by it ever since. When I heard about this "Hearts of Darkness" I just HAD to see it.
The filming of Apocalypse Now was supposed to take just sixteen weeks at a budget of $13 million. It wound up costing more than $30 million, much of it put up by Francis Coppola himself, and took almost three years to get to the public. Coppola' wife Eleanor and their three children went along on location in the Philippines. She was interested in making a documentary and shot a lot of behind-the-scenes footage, even secretly recording private conversations she had with her husband about the film. The authenticity of the experience really comes through, as everyone involved with the production seemed to go a little bit insane.
Coppola had serious doubts throughout and we hear his words of despair as he thinks he's making a bad movie. We see the terrible typhoon that destroyed all the sets and realized that the helicopters that were being used for the shooting were actually property of the Philippine government who kept calling them away to fight a real disturbance that was going on just ten miles away. We see shots and scenes that never made it into the original film (although much of it eventually made it into the 2001 "Redux" version). We see and overweight Marlon Brando who insisted on being filmed in shadows. And we are right there to watch the filming of the scene in which Martin Sheehan has a mental breakdown. In order to do this he became bleary-eyed drunk, cut his thumb on a mirror and used the blood as part of the scene. The intensity is chilling and when, a short time afterward, he has a life-threatening heart attack at the age of 36, we're all there to see him as he is given first aid.
Now, years later, some of the actors are interviewed about their experiences. We learn that they did a lot of drugs during many of the scenes - acid, speed, marijuana, alcohol, which certainly added to the authenticity as well as the craziness of the whole production. Robert Duval talks about how his famous line "I love the smell of napalm in the morning was improvised. And the whole cast talks about how they improvised a massacre scene. Laurence Fishburne was only 14 when the film was made, a real coming-of-age experience for him. But this very stirring film portrait belongs to Francis Coppola. We get to meet him as a very imperfect human being doing his best to create an art form out of the script, changing it constantly as he went along, and eventually turning out a small masterpiece which went on to be nominated for eight academy awards.
I give this video my highest recommendation. It is a "must" for movie buffs. And an essential education for anyone involved in filmmaking itself. Don't miss it!

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Hearts of Darkness: A Filmmaker’s Apocalypse is an engrossing, unwavering look back at Francis Ford Coppola’s chaotic, catastrophe-plagued Vietnam production, Apocalypse Now. Filled with juicy gossip and a wonderful behind-the-scenes look at the stressful world of moviemaking, the documentary mixes on-location home movies shot in the Philippines by Eleanor Coppola, the director’s wife, with revealing interviews with the cast and crew, shot 10 years later.

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The Score (2001) Review

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(More customer reviews)Aren't heist movies great? Warm and familiar like a comfy old armchair, they are one of the oldest and (if done well) most enjoyable film genres around. You can sit back at the movie theatre with your popcorn in one hand or at home in front of the TV with a beer, safe in the knowledge that some craggy, world weary old thief set on retirement will be persuaded to do one last job, with a rookie understudy whom he doesn't trust, on a job which you just know wont go as smoothly as planned.
The Score is no different in that respect in that it stars Robert De Niro as a craggy old world weary thief, persuaded to take on one last high risk job before retiring. Ed Norton plays the rookie understudy scamming his employers by posing as Brian, a man with a disability and learning difficulties. Of course Robert De Niro's character Nick, always works alone and doesn't trust anybody but he is persuaded by his camp bloated old fence, Max (Marlon Brando) to work with Jack (Ed Norton). You see Max (Brando) is in up to his eyeballs in gambling debts and is likely to be forcibly shuffled off this mortal coil unless he comes up with the money, Jack (Norton) is working on the inside and Nick (De Niro) is the only man with the knowledge and the skills to get the job done.
Like most heist movies it's a bit of a slow burn build up, it's all about building up the tension until showtime. Inevitably there are a few scares along the way and Director Frank Oz (yes that's right Yoda, or at least the voice of Yoda) does a decent job in building up the tension. Of course one of the great draws of this movie is Frank Oz's coup in getting Brando, De Niro and Norton all on screen at the same time in the same movie. Brando was in his day was considered to be the world's greatest living actor, a mantle De Niro has carried for the past 20/25 years. Edward Norton is not far behind and is generally considered by many (including myself) to be the greatest actor of his generation on the back of great films (American History X, Fight Club) and great performances (Primal Fear, Rounders, Keeping The Faith, The People Versus Larry Flynt, Everybody Says I Love You). Robert De Niro is of course reliably good but not at his brilliant best and it is Ed Norton in the dual role of Jack and Brian who has the meatiest part and adds some energy and vitality to the whole production. Marlon Brando's role however, is something of an oddity. It's not much more than a cameo and its something that he could do in his sleep, which is just as well because it looks like that's exactly what he did.
If there are any criticisms to be levelled at The Score it has to be on the basis that it really is a by the numbers crime caper and lacks none of the originality or vitality of something like Reservoir Dogs and nor does it really take full advantage of its AAA list cast. The opening sequences whilst interesting, perhaps lack the action and intensity you might wish, although they do serve as an insight into Jack's MO (he always works outside the country, he always plans meticulously, doesn't take chances and is never greedy). That said The Score is enjoyable first and foremost for its excellent cast and the opportunity to see them share screen time. Secondly the last forty minutes of the movie where we eventually get to witness the heist are excellent; the heist is great edge of your seat stuff and there are plenty of unexpected twists and turns and an excellent climax. Ultimately though, you are left with the feeling that you've seen this all before and done better. It's more like that trusty old arm chair, warm and comfortable rather than new and exciting. That said it's an enjoyable yarn. Good rather than great BUT still well worth a watch.

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Aging thief pulls off one more heist at the urging of an upstart thief.Genre: Feature Film-DramaRating: RRelease Date: 24-JUN-2003Media Type: DVD

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