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Apocalypse Now – Coppola’s 70s classic returns to the big screen

25th May 2011 By Tim Isaac


To celebrate the Blu-ray release of the newly restored Apocalypse Now on June 13th, the landmark film is getting a theatrical re-release, and it’swell worth seeing on a big screen if you’ve never done so before. It’s difficult to know what to add to this extraordinary film’s legend, except to say seeing it in on a big screen in a dark room is a reminder that sometimes cinema can transcend itself and become something truly great.

What is also very obvious after all these years is just how good Sheen is in it – a truly remarkable performance, always holding the attention even though his character is a strung-out, boozy psychopath given an impossible mission that he is not expected to get back from. Based on Joseph Conrad’s Heart of Darkness, but quoting TS Eliot, the story is actually pretty simple. Vietnam captain Willard is roused out of his Saigon rest for a special mission – to track down and terminate with extreme prejudice Colonel Kurtz (Brando), a brilliant military man who has gone loco and is living native near the Cambodia border.

From here the film is a journey up a dangerous river with Willard slowly learning more about his nemesis and trying to figure out what made Kurtz lose it so suddenly – with some nasty encounters along the way. The most famous of these is with Lieutenant Kilgore (Duval), a bloodthirstly lunatic more interested in surfing and Wagner than winning the war. Once Willard gets past him he leads a small team in their boat up river and into his own personal heart of darkness, and the meeting with Kurtz.

It’s difficult to say who is the maddest character in the movie – an early contender is Harrison Ford’s uncomfortable officer handing out the orders, then Duval’s Kilgore, or Dennis Hopper’s totally acid-soaked photographer who has befriend Kurtz. The leading candidates though are clearly Brando and Sheen – but Brando, once he gets his chance to speak and explain his actions, reveals a purity of soul and brain that actually almost convinces the viewer he is sane. If you buy his agonising war stories, then it’s Sheen who is the bonkers one, but his remarkable performance always keeps you onside, and he never, ever, loses focus with his eyes, which you can’t say about any other character.

The making of the film is almost as infamous as the film itself – that it exists at all is something of a miracle. Sheen’s heart attack, Coppola’s money problems, the rumoured hundreds of hours of footage, a cast going way too method with their drug and alcohol use, all add to the film’s real edge, and, indulgent and windy though it sometimes is, it stands as one of the truly remarkable pieces of 70s cinema. It took two years to edit, and the sound use is truly remarkable – it was the first film to use the 70mm Dolby Stereo surround sound system, all of which is up there on the screen. It also has no opening or closing credits, which gives it a truly disconcerting air.

Overall verdict: You’ve almost certainly seen the film many times by now, but do yourself a favour and see it again on the big screen, it’s really worth it. It stands as a landmark piece of film and the high point of most of the actors involved in it. It nearly killed Coppola, but it was worth it.

Reviewer: Mike Martin

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