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I’m a hardcore Apocalypse Now fanatic, and this, the current 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 obtain this new version to be more surreal, relentless, and, to quote another reviewer, more “hazardous.” The fact is, Coppola outmoded different shots and edits in the Redux, in some cases diluting the surreal impact of the recent. Plus the characters Kilgore and Kurtz arrive off more strongly in the original; definite, we salvage to glimpse more humanity from Kilgore in the Redux, but his exit in the fresh is powerful more memorable, remarkable better than the “tossing megaphone into the air” antics as shown in the Redux. And Kurtz is a more grand Wicked One in the modern version, not worthy 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 “recent.” He felt that, today, it comes off as a rather ordinary film. So he integrated an extra 50 minutes into the movie, to obtain it more current. The thing is, the Redux is, if anything, MORE normal than the fresh. After all, you net more character development, a romantic subplot, etc; all the things the novel (and new), novel version lacked. The very lack of these things is what gives the unusual such a mysterious, perilous edge. There is no levity in the fresh, no stealing of surfboards, no Playmates for the PBR crew. Only the dim jungle, and the mission.

If it’s lawful that Coppola wanted to produce the novel version even more fresh, 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 veteran. Bizarre? Unique? How about a scene in which Martin Sheen’s Willard, trapped in a bamboo cage, writhes in wound as the montangnards (and Kurtz’s American soldiers) dance and chant around him, as they sacrifice a pig? Or how about Willard, level-headed in the cage, being questioned by Kurtz, who tells Willard that he’s as musty 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 customary any or all of these scenes to construct a truly “original” film, one that would successfully develop a darker film. If anything, the extra scenes in Redux lighten the film’s mood. Coppola could have even improved on the waste of the movie. That’s one thing that’s always bothered me about Apocalypse Now. Willard’s hired to slay Kurtz; when he finally does, all he has to do is honest high-tail into Kurtz’s temple, prefer out one guard, and then accumulate to hacking at Kurtz. It comes off as so easy, you wonder why the Army even bothered hiring Willard. This jam is solved in the Work Print, which features Willard taking on a host of guards, including one plain scene in which he spears an American guard who cowers unhurried a young, Vietnamese boy. Now, if you ask me, that’s more “novel” than a bunch of French people arguing politics at the dinner table! But unfortunately, Coppola has chosen not to consume these scenes, in either official version of the film.

I don’t intend to mislead, though. I judge the Redux is pretty, 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 modern in for the first time in a few years. I was amazed at how the film seemed so different than the Redux, so distinguished more psychedelic and surreal. Even the fades and images shown in the beginning and the waste are different in the recent, more disturbing. And that’s the main incompatibility between the two versions: the new is grand more disturbing.

I’ll enact with another quote, taken from the web. Which director do you believe 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 dwelling — it seems Amazon has combined the reviews for the unusual 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 glance the Comments fraction, 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, pleasing inspect 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 lovely work at the time, you wouldn’t acquire 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 slight of it was indispensable to making this classic film an even better one, there is a modern legend here that helps us picture 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. Natty” also was a welcome addition as it gives us a closure to the closeness we felt to this character. And of course, a exiguous more time with the insane Colonel Kurtz was enlightning as well (who wouldn’t want to exercise a cramped more time with any character of Brando’s? ) .

The fresh film from 1979 received 8 nominations by Oscar, including Best Report, Director, and a supporting actor nod for Robert(”I like 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 maintain emotional problems is sent on a uncertain mission to “finish” the esteemed Col. Kurtz, played brillantly by Brando, who has now been driven insane by “The Dismay” 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 win Dennis Hopper, Harrison Ford, Sam Bottoms,Albert Hall, and Christan Marquand in this astonishing 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 show which are the fresh scenes which is quite obliging if it’s been a while since you’ve seen it.

Still can’t choose between the new and the Redux. This film is a care for in any obtain. 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 Earn Out of The Boat”….Lt. Willard….thanks and savor..Laurie

recommended reading:Into the DMZ A Battle History of Operation Hickory, May 1967, Vietnam(survey my review for details)
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