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In my opinion, 'redux' simply reinforce what you thought of the original film. 'Apocalypse Now' is a polarizing film, and has its fair share of nay-Sayers who think it is too long and too focused. So if you do not like the original, I doubt that an extra hour or so of new movies is going to convince you. But for those who consider the original a masterpiece as a bit 'spoiled (like me),' Redux 'is fantastic. It's not just that there are two extended long-awaited set pieces (the rendez-vouswith rabbits and French Plantation scene), there are also a series of short scenes that really enrich the story. So, although much longer, `redux 'actually flows much better than original.br / br / The scenes also added several important moments of character. Director, in particular, we define some scenes (especially the funeral of Clean, but also short interviews with various Willard) and there is more fan-favorite Killgore. I was particularly pleased toKurtz also see more focus and more detailed exploration of his ideas eccentric Marlon Brando's performance provides a context that does not necessarily original. br / br / For me, the big thing 'Redux' is strengthened as a revolutionary 'Apocalypse Now' was really. His nightmarish realism and moral ambiguity were not always appreciated at the time, but his influence can be clearly seen in many war films later as "Full Metal Jacket 'or' Saving Private Ryan '. br / br/ Leave aside your cynicism about the cuts profit director and "definitive versions" `Redux 'is the real deal. New movies as a subtle change of perspective makes this the definitive version of 'Apocalypse Now'. Although probably not do everything to convince the skeptics, I strongly recommend newcomers and fans of the original research this out. Five stars. br /
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In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of iApocalypse Now/i as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad’s classic story “Heart of Darkness” into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film’s awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of “the smell of napalm in the morning.” Like Herzog’s iAguirre: The Wrath of God/i, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola’s obsession (effectively detailed in the riveting documentary iHearts of Darkness/i, directed by Coppola’s wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. i–Jeff Shannon/i
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In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of iApocalypse Now/i as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made. It began as a John Milius screenplay, transposing Joseph Conrad’s classic story “Heart of Darkness” into the horrors of the Vietnam War, following a battle-weary Captain Willard (Martin Sheen) on a secret upriver mission to find and execute the renegade Colonel Kurtz (Marlon Brando), who has reverted to a state of murderous and mystical insanity. The journey is fraught with danger involving wartime action on epic and intimate scales. One measure of the film’s awesome visceral impact is the number of sequences, images, and lines of dialogue that have literally burned themselves into our cinematic consciousness, from the Wagnerian strike of helicopter gunships on a Vietnamese village to the brutal murder of stowaways on a peasant sampan and the unflinching fearlessness of the surfing warrior Lieutenant Colonel Kilgore (Robert Duvall), who speaks lovingly of “the smell of napalm in the morning.” Like Herzog’s iAguirre: The Wrath of God/i, this film is the product of genius cast into a pit of hell and emerging, phoenix-like, in triumph. Coppola’s obsession (effectively detailed in the riveting documentary iHearts of Darkness/i, directed by Coppola’s wife, Eleanor) informs every scene and every frame, and the result is a film for the ages. i–Jeff Shannon/i
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Self-impressed piffle – Frank Clover – Columbus, OH United States
Just what the world needs, another review of a film 31 years. What struck me after seeing it again 30 years later is as shallow and pretentious, and is what reminded me of 2001: A Space Odyssey. The protagonist in both films bland moves to a remote location and is the only survivor of his crew (yes, I know Lance was still alive at the end of AN, but it was too spaced out to count). Instead of a mad computer, the main enemy was a mad Colonel Kurtz. Or was itequivalent of the monolith? Maybe both, who knows. Both films are long, slow, and fall apart at the end. The soundtrack by Carmine Coppola recalled pieces Ligeti used by Kubrick in 2001.br / br / AN is simply a collection of pieces together and famous movie quotes, each of which can be seen on YouTube, so buy Go Tell The Spartans instead.
One of the Best Movies Ever – Kevin L. Nenstiel – Kearney, Nebraska
Watching this movie more than thirty years after its initial release, I realize that does not look old. You know that watching old movies get, where the color fades and the sound becomes unclear? Not only does this film make any of these errors, not even indulge in cheese-disco was special effects or camera movements that would seem dated. This film could be released the week before last.br / br / The film is based on the famous Joseph Conrad's Heart of Darkness, and ifyou read the book, the parallels are unmistakable. But that brings history into the realm of living memory. My freshman students do not understand the magnitude of events in the book until you have seen this movie. This film dramatizes one man's descent viscerally to destruction by the hand to grip, self-immolated empire.br / br / There is literally nobody to not recommend this film. Although it is violent, is never free, so I can recommend to pacifists. Thoughis dominated by men, not to glorify masculinity, so I can recommend to feminists. Although it is old, it remains current, so I can recommend to young adults. And even if I love him, is so deep and universal, so that I can recommend to you.
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