Apocalypse Now Redux 2001
With: Colonel Kurtz - Marlon BrandoLt. Colonel Kilgore - Robert DuvallCaptain Willard - Martin SheenChef - Frederic ForrestChief - Albert HallLance - Sam BottomsClean - Larry FishburnePhoto-journalist - Dennis HopperGeneral - G.D.
SpradlinColonel - Harrison FordCivilian - Jerry ZiesmerColby - Scott GlennPlaymate of the Year - Cynthia WoodPlaymate - Colleen CampPlaymate - Linda CarpenterDe Marais - Christian MarquandRoxanne - Aurore ClementIf the original “” was a narrow, swiftly flowing river that gradually closed in on the patrol boat carrying Captain Willard into the heart of darkness, “ Redux” is a wide river of greater depth, more variable currents and some fascinating new ports of call. Declared by Francis Coppola to be the “definitive” version of his Vietnam War epic, this amazing new work adds 53 minutes of dramatic footage to the 1979 release, making for a weightier, more nuanced and fulsome experience than the film the world has known up to now. Debuting, as did its predecessor, at the Cannes Film Festival, “Redux” will by released by Miramax Films in the U.S. 15 — 22 years to the day after the initial theatrical opening. Despite the significant increase in running time, there is no reason that just about anyone who liked “Apocalypse Now” the first time around wouldn’t want to see what Coppola has done to it. A healthy share of that audience should have the good sense to experience the picture on the bigscreen in the brilliant Technicolor dye transfer prints and immaculate SRD sound that will be used in at least the top 20 American cities.
“Redux” unfolds just as it always has through Willard’s initial freakout and his assignment to deal with Kurtz “with extreme prejudice.” First sign of something new comes with the entrance of Robert Duvall’s Lt. Colonel Kilgore on a helicopter with the slogan “Death from Above” emblazoned on it. After the “Ride of the Valkyries” helicopter attack sequence, still sensational after all the years, there is new footage of Kilgore obsessing about surfing, preparing to do so himself, then, most significantly, a section-concluding episode in which Willard and his men steal Kilgore’s prized surfboard. This is followed by a fresh river interlude in which the men hide under some shade while Kilgore’s voice is heard booming from a circling chopper, asking for his surfboard back.In terms of the picture’s artistic ascent, “Apocalypse Now,” then and now, rises to a plateau of greatness the moment Willard assumes his mission and remains there for a very long time. Achievement is now strengthened by assorted bits of extra material devoted to the men on board.The added moments accrue to give the viewer more of a feeling for each of them, for their attitudes toward one another and toward what they’re doing in this crazy war. Some previously unheard narration also provides some valuable extra insights into Kurtz’s feelings about America’s conduct of the war.Then, at the 82-minute mark, comes a substantial passage striking for its utter newness as well as for its exceedingly sad, poignant tone. In a driving rain, the men arrive at a small U.S.
Encampment where the Playboy helicopter looms forlornly over a group of soggy tents. In short order, Willard makes a deal: He’ll hand over some fuel to get the chopper airborne again, in exchange for which his men can spend two hours with the playmates.
Ebook a volte ritorno. Chief declines the opportunity and Willard strangely disappears, but Lance pairs up with the Playmate of the Year, portrayed by the real thing, Cynthia Wood, while Chef dallies in the helicopter with the centerfold model played by Colleen Camp; all the while, Clean annoys both couples by shouting, “It’s my turn!”While there is some nudity and implied sex, the overall impact of these exchanges is quite melancholy. The girls are filthy and at loose ends after who knows how long in this godforsaken place. Indeed, Wood’s character may have already fallen completely off the deep end, while Chief insists upon rearranging Camp’s character to more resemble the Playboy photograph he’s cherished. At 115 minutes in, after Clean has been killed, the patrol boat emerges from mist and fog to be greeted by a small band of armed French colonial soldiers. In such ghostly fashion begins the French plantation sequence, which, at 25 minutes, represents by far the picture’s longest layover.
Welcomed by the French, who are headed by the middle-aged De Marais (the late Christian Marquand), the Americans get the satisfaction of giving Clean a military burial (the disposition of his body was always a mystery in the original), whereupon Willard attends a lavish French dinner in the house, a beautiful abode of faded colonial elegance.With Marquand delivering a forceful performance, De Marais holds court for quite a while. Explaining that his family has owned the plantation for 70 years and that “it will be ours until we are all dead,” the articulate, opinionated man explicates the French mentality in the wake of defeats in WWII, Indochina and Algeria, ruminates about the disaster of Diem Bien Phu, wonders why the Americans don’t learn something from the French.Sequence then slides into a gentle little seduction scene in which a young widow, Roxanne (Aurore Clement), invites Willard upstairs, fires up what is presumably an opium pipe and closes the curtains around her bed.
Apocalypse Now ReduxProduction:A Miramax (in U.S.) release of an Omni Zoetrope production. Produced by Francis Coppola. Co-producers, Fred Roos, Gray Frederickson, Tom Sternberg. 'Redux' producer, Kim Aubry. Directed by Francis Coppola. Screenplay, John Milius, Coppola. Narration, Michael Herr.Crew:Camera (Technicolor, Technovision widescreen), Vittorio Storaro; original supervising editor, Richard Marks; 'Redux' editor, Walter Murch; original editors, Walter Murch, Gerald B.
Greenberg, Lisa Fruchtman; music, Carmine Coppola, Francis Coppola; production designer, Dean Tavoularis; art director, Angelo Graham; set decoration, George R. Nelson; sound montage and design (Dolby SRD), Murch; special effects coordinators, Joseph Lombardi, A.D. Flowers; associate producer, Mona Skager; creative consultant, Dennis Jakob; assistant director, Jerry Ziesmer; second unit camera, Stephen Burum; insert camera, Caleb Deschanel; casting, Terri Liebling, Vic Ramos. Reviewed at Directors Guild of America, L.A., May 3, 2001. (In Cannes Film Festival - Special Screenings.) MPAA Rating: R. Running time: 203 MIN.With:Colonel Kurtz - Marlon BrandoLt. Colonel Kilgore - Robert DuvallCaptain Willard - Martin SheenChef - Frederic ForrestChief - Albert HallLance - Sam BottomsClean - Larry FishburnePhoto-journalist - Dennis HopperGeneral - G.D.
Apocalypse Now Redux 2001 Movie
SpradlinColonel - Harrison FordCivilian - Jerry ZiesmerColby - Scott GlennPlaymate of the Year - Cynthia WoodPlaymate - Colleen CampPlaymate - Linda CarpenterDe Marais - Christian MarquandRoxanne - Aurore Clement.
The first thing: Apocalypse Now is as good as ever. Generations who have seen it only on video will learn just how astonishing the film can be on the biggest possible screen, with the best possible sound system. Cinematographer Vittorio Storaro and sound designer Walter Murch, deployed by mad general Coppola, create effects that work only in a theatre and which will stay with you forever, from the haunted hotel room where Martin Sheen is found having a breakdown, through Colonel Kilgore's helicopter attack on the surf-friendly riverhead occupied by the VC, to the atrocity-filled encampment where Dennis Hopper scuttles as acolyte to an ambiguous monster whose name comes half from (Walter Elias) Disney and half from Conrad's Mr. Kurtz.But what about the new stuff? It's all good, but there are niggles - when Willard and his men rag Kilgore by stealing his surfboard, it deepens their characters and makes some nice relief, but the extra footage blunts Duvall's great exit line ('Some day this war's gonna end'). The Playboy bunny scene has moments but feels unfinished, and a crucial moment with Laurence Fishburne is still MIA. The long French plantation sequence has weird echoes of Sid James and co.
Taking tea during battle in Carry On Up The Khyber, but the first ghostly appearance of the colonials in the mist is magical. A bit with Brando reading articles aloud makes this a more specific film about this particular war, but is literal editorialising.Now, it's a slower film, with a little more intellect and sentiment, but perhaps the added time to think will make you feel less overwhelmed.