War is hell. Especially when you’re dropping acid.
This film tracks the journey of Captain Benjamin L Willard (Martin Sheen), a USA Army Intelligence Officer sent on a hazardous mission up river into Cambodia to terminate “with extreme prejudice” American renegade Colonel Walter E Kurtz (Marlon Brando) who has spun out of control and out of his mind. What Willard has to go through in order to get to Kurtz is unlike any other.
Jesus H. Christ. Where do I begin with this one? Well to start, I should say that this isn’t the first time I ever saw this movie, or even the first time I ever reviewed this movie. Confused as to why I’m doing a total double-take? Well, the first time I watched this flick I wasn’t as fully into it as I should have been and my review at that time (along with many others), come off as very lazy to the point of where it seemed like I was reading off of Rotten Tomatoes and piecing them altogether. Trust me, that’s not what I did but if you go back and read it, you’ll think it by all of the jibber-jabber that I typed. But after checking it out for the second time, I finally realized the beauty and the ugliness that lies behind this film but I said it once and I will say it again: this film is somewhat overrated.
Anybody who has ever done research about this film probably heard about how director Francis Ford Coppola literally went to hell in pre-production just to get this film done in his way (it’s actually the subject of a documentary, one that I need to still see), and thank heavens for that because this film would have not worked without his direction. Seriously, no way in hell would it have. What catches your eye right from the start is the beautiful, but deadly images of a Cambodian jungle being blown up to pieces, all played to a tune from The Doors. It’s the perfect combination of a dark song and a dark image coming together and starting this baby perfectly right off the bat, and it gets you ready for what’s about to come and that is pure, utter craziness that’s all from the point-of-view from Coppola.
Let me just say that this film is probably one of the more beautiful ones I have ever seen in my entire life. I don’t know how Coppola got some of the shots that he did, but the long, sweeping shots of helicopters blowing shit up to the tune of Wagner still sticks in my mind every time I think about this film and the beauty it has. Oh, and there’s also the famous bridge blowing up scene where the only source of light throughout the whole scene is just fireworks and gun shots being lift-off in the sky. But regardless of what specific scene I’m talking about, there’s something inventive Coppola does with the colors in his film and it’s just that he constantly mixes them with every new frame. One shot you got purple, the next you got yellow, the next you got red, the next you got orange, and so on and so forth. Coppola has a great eye for colors and how they convey moods for a film and that’s what really caught my eye every time with every shot. When you look at this film and the way that it’s shot, you know that you have to give Coppola enough credit for that but that’s not all he does that makes this film work. No sireee!
The whole general story of this flick starts off pretty strange, but only gets worse after that whole “Wagner sequence”. We start to see these soldiers go across Vietnam running into other soldiers that are either completely insane, or have no guidance whatsoever, or run into a bunch of innocent Vietnamese that are just trying to make it across without getting killed or hurt, or just another bunch of people that keep on making this film tick and tick away some more. There are no sunshine and peachy days with these people that we soon meet on this “trip”, if you will, and they automatically shock and compel you every time somebody new shows up. This is fairly one of the strangest films of all-time, with characters that only make it so, but it’s all there for a reason and that’s to show you the type of effect the war has on people from all different sides of it.
Not once do we see the enemy from their point-of-view, or do we ever really see them up-close-and-personal. Instead, we get to see plenty of the American soldiers that are fighting against them and just how much of a terrible toll this isolation and destruction is taking on their bodies, on their minds, and on their lives as well. This is all some scary shit that we have seen before in anti-war flicks of the same nature, but never this disturbing to the point of where you really feel like it’s about to get bad. Coppola gives us the images to really stick in our heads, but he also gives us the situations and characters to think about and how all war, brings pain and misery no matter whichever way you make it out to be.
However, you heard me going on and on about this film but the one question in your head still has to be left there thinking, “Just what the hell does this cat think is so overrated about this movie, because all he’s doing is having orgasms over it?”. Well, have no fear because here’s the answer to exactly why I think so: not as much character development as there should have been. That’s right, in this whole 2 hour and 30 minute movie, we get plenty of crazy and bizarre-o characters that pop in-and-out and provide us with a lot of philosophical shit to chew on for the time-being, but when it came to the main players of the story, I found it very hard to care for.
Let me give you the prime example of this flick, and that is Martin Sheen‘s character, Captain Benjamin L Willard. Willard is a very confused fellow that seems like he has no motivation for this duty he has to do, other than the fact that he literally had nothing else to do and was just assigned to it. We see Willard go throughout the whole war, meet up with new characters that eff his mind up as much as it effed mine up, challenge what he thinks is suitable of the war, and teach him some new things about life that he never once realized. Problem is, I think I’m looking into that a little bit too much because we never get much from this Willard guy, other than a very cold and intimidating stare from Sheen. Don’t get me wrong, Sheen does an amazing job with this role and handles the lead with such ease and perfection, but he’s not given much to work with outside of just looking pissed and barely saying anything. All of his motivations and convictions feel real, it was just that we don’t really know what to think about him since the guy is so damn stern the whole time and barely loosens up with the exception of a couple of scenes where he actually cracks a smile.
Everybody else kind of suffers from the same thing, but that doesn’t matter as much because of the awards-caliber performances they give as well. Robert Duvall is a sensation to watch as the hip, fun, and cool as Lieutenant Colonel Bill Kilgore. Of course everybody knows the famous “Napalm” line that Duvall utters in this film but honestly, how can you not love that line as well as this dude’s charisma? The whole film is essentially one, big downer of a movie and Duvall brings a whole bunch of comedic relief to the film that makes you appreciate him a whole lot more once he’s out of the film for good but you never forget one of the lines he says, and trust me, it’s not the “Napalm” one either. You’ll see.
Then of course, you got Marlon Brando who caused all types of shit (as usual) on the set of this film by showing up overweight, needy for money, and dicking everybody around like he normally does. However, it’s kind of hard to be mad at him for something like that especially when he gives off such a commanding but brief performance as Colonel Walter E Kurtz. As soon as Brando shows up, the film takes a much darker turn, which I thought wasn’t even possible, but once I started hearing all of the shit Kurtz discusses, then I realized it was. Brando hits like a wrecking ball in these types of roles and his small role here as Kurtz is no different and you can’t help but just wait, and wait for him to show up as soon as you see his picture-perfect face within the first 10 minutes.
Also, be on the lookout for plenty of other supporting performances from people you obviously recognize, but other’s, you don’t by how young they are. Especially a very young Laurence Fishburne, who deserves major props for being 14-years old in this film and still not getting blown out of the water with the type of talent they have on-display here. Nice going Morpheus!
Consensus: While it’s not the pitch-perfect masterpiece so many people laud it as being, Apocalypse Now is still a powerhouse of a film to watch, mainly because of the inspired direction from Coppola that pulls out all of the stops, awesome performances from this wide ensemble, and plenty of themes and moral issues to chew on about the war and all of the misery it brings to those involved.