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on January 3, 2014
Be aware that the two-disc Blu-ray special edition of Apocalypse Now currently for sale by Amazon for $13.97 is actually a Canadian import that does not include the slip case as pictured. The contents of the two Blu-ray discs are identical to the discs in the U.S. version so, unless you care about getting the slipcase which lists all the special features included on disc 2, it won't matter which version you order. I wanted the complete edition so I deducted one star.
on August 4, 2017
Great Movie, Old but still good !
on April 29, 2002
*
I won't spend much time doing a classic review of this film, as I am sure that everything I would want to express has already been covered by many others.
The most important info I can offer is that the purchase of this DVD marks my VERY FIRST TIME ever having seen this Nicolas Cage's uncle's Vietnam War classic -- I had never seen it in its original release, I had never seen any of the televised broadcasts or cablecasts, and I had procrastinated too long when the ''Redux'' version was released in theatres. So in EVERY sense of the word, I took a blind chance on purchasing this DVD! ... And I don't regret it one bit!
I typically don't like war movies enough to purchase them -- not even such spectacular epics as ''Platoon'' and Kubrick's ''Full Metal Jacket,'' which I admit are utterly breathtaking films. But ''Apocalypse Now'' is clearly a rare gem among all of them, and I'm glad I took the chance on it!
This ''Redux'' version supposedly answers some ambiguous questions that had always baffled the old fans who were familiar with the original release, and upon learning what these scenes were makes me wonder why studio executive types always have to insist on carving away extremely important segments of film just to meet some arbitrary ''time restraints.'' (Chop up, take out and force audiences to rent or purchase ''Director's Cuts'' of films on VHS & DVD ... and the motion picture studio execs remain clueless as to why ticket sales for theatrical releases are steadily going down and down.) The only editorial decision I would have liked to have seen made involved the shameful and silly portrayal of the stranded 'Playboy Bunnies' ...the ditzy & brainless portrayals of the women really hurt the film's credibility and disrupted the entire pace and mood of the film. Coppola should have just insinuated the 'sex-for-trade' scene without actually exposing it...
Overall, the slow but chaotic pace and the eerie & generally depressing mood of the film really make it one of the true masterpieces, genuinely deserving of its critical praise.
I am actually glad that it took all of these years of waiting before I had a chance to see this film-- either as it was (original theatrical release) or as it should have been (''Redux'') --otherwise I may not have had the genuine appreciation for the film that I now have. Only one other film has had such a profound effect on me, and that was Orson Welles' ''Citizen Kane,'' which I had first seen only a few years ago as part of a special anniversary theatrical re-release.
For those of you who are familiar with this film (in either of its versions), I'm not telling you anything you don't already know; For those of you who are not, don't walk past this truly amazing bit of filmmaking history! Everyone should see this film at least once!
I won't spend much time doing a classic review of this film, as I am sure that everything I would want to express has already been covered by many others.
The most important info I can offer is that the purchase of this DVD marks my VERY FIRST TIME ever having seen this Nicolas Cage's uncle's Vietnam War classic -- I had never seen it in its original release, I had never seen any of the televised broadcasts or cablecasts, and I had procrastinated too long when the ''Redux'' version was released in theatres. So in EVERY sense of the word, I took a blind chance on purchasing this DVD! ... And I don't regret it one bit!
I typically don't like war movies enough to purchase them -- not even such spectacular epics as ''Platoon'' and Kubrick's ''Full Metal Jacket,'' which I admit are utterly breathtaking films. But ''Apocalypse Now'' is clearly a rare gem among all of them, and I'm glad I took the chance on it!
This ''Redux'' version supposedly answers some ambiguous questions that had always baffled the old fans who were familiar with the original release, and upon learning what these scenes were makes me wonder why studio executive types always have to insist on carving away extremely important segments of film just to meet some arbitrary ''time restraints.'' (Chop up, take out and force audiences to rent or purchase ''Director's Cuts'' of films on VHS & DVD ... and the motion picture studio execs remain clueless as to why ticket sales for theatrical releases are steadily going down and down.) The only editorial decision I would have liked to have seen made involved the shameful and silly portrayal of the stranded 'Playboy Bunnies' ...the ditzy & brainless portrayals of the women really hurt the film's credibility and disrupted the entire pace and mood of the film. Coppola should have just insinuated the 'sex-for-trade' scene without actually exposing it...
Overall, the slow but chaotic pace and the eerie & generally depressing mood of the film really make it one of the true masterpieces, genuinely deserving of its critical praise.
I am actually glad that it took all of these years of waiting before I had a chance to see this film-- either as it was (original theatrical release) or as it should have been (''Redux'') --otherwise I may not have had the genuine appreciation for the film that I now have. Only one other film has had such a profound effect on me, and that was Orson Welles' ''Citizen Kane,'' which I had first seen only a few years ago as part of a special anniversary theatrical re-release.
For those of you who are familiar with this film (in either of its versions), I'm not telling you anything you don't already know; For those of you who are not, don't walk past this truly amazing bit of filmmaking history! Everyone should see this film at least once!
on January 13, 2003
If you like films about the Vietnam War for the action and tension, you'll probably love the first half. After that you may find it an effort to stay engaged. The film's length alone is not for the faint hearted, or for the casual movie-goer who only sees this film in the context of a war flick.
It's essentially an examination of external and internal human conflicts: among peoples and within ourselves. Generations of artists have explored conditions in which our worst natures flourish; and war, where we see horror at its greatest scope and extent, is often the perfect canvas upon which to portray man's darker side. For Coppola, Milius and the rest of the creators, Vietnam encapsulated 20th Century America's conflicts.
The further Willard and company go up river, the less the story is about the war or Vietnam. Deeper into the primordial jungle--into the realm where Kurtz has unsuccessfully sought refuge from his own demons--the war, civilization, even time itself become suspended. It's a place where air power, the signature extension of American military prowess, is useless (note the downed helo and fighter jet); where armies battle with arrows and spears; where death is delivered by one's own hands (use of machetes to kill Chef and Kurtz) instead of from a distance. In the end it asks all of us, 'Before you judge, what would you have become in such a place?'
I was very curious about the extra footage, having heard about it in 'Hearts of Darkness'. And I at first found the French plantation episode, while ghostly and mysterious, definitely intrusive and unnecessary.
When I saw it a second time, I noticed that the segment begins and ends with identical shots of Willard on the bow of the boat riding into (or out of) mist. The set up and conclusion of a dream sequence, perhaps? An imaginary Vietnam where Willard can find warm food, clean clothes, opium and sex? Is this his Elysium, where he'll go once he dies? It's certainly better than his reality. Whether intentional or not those clever visual parentheses tell me that the inclusion wasn't gratuitous.
As for the other additions, I'm mixed. Kilgore's obsessiveness over surfing (and his surfboard) is so overdone, and to such unbelievable excess that he becomes a caricature. His comic, yet menacing behavior is replaced by plain, vanilla-flavored looniness; just another Vietnam War kook. Ho hum.
Also seeing Kurtz for the first time in full daylight, when he releases Willard from the hot box, only serves to diminish his mythic persona as a nocturnal, predatory beast. Not only do we see is very un-Green Beret and immense girth, we also seem him like some New Age Laguna Beach burnout on a fashionably-Buddhist jungle retreat.
But I'm very pleased with the restorationa and transfer. The entire work has given me more food for thought on one of the most complex American films. But oh, do I wish there was a commentary from Coppola, Milus and Sheen.
It's essentially an examination of external and internal human conflicts: among peoples and within ourselves. Generations of artists have explored conditions in which our worst natures flourish; and war, where we see horror at its greatest scope and extent, is often the perfect canvas upon which to portray man's darker side. For Coppola, Milius and the rest of the creators, Vietnam encapsulated 20th Century America's conflicts.
The further Willard and company go up river, the less the story is about the war or Vietnam. Deeper into the primordial jungle--into the realm where Kurtz has unsuccessfully sought refuge from his own demons--the war, civilization, even time itself become suspended. It's a place where air power, the signature extension of American military prowess, is useless (note the downed helo and fighter jet); where armies battle with arrows and spears; where death is delivered by one's own hands (use of machetes to kill Chef and Kurtz) instead of from a distance. In the end it asks all of us, 'Before you judge, what would you have become in such a place?'
I was very curious about the extra footage, having heard about it in 'Hearts of Darkness'. And I at first found the French plantation episode, while ghostly and mysterious, definitely intrusive and unnecessary.
When I saw it a second time, I noticed that the segment begins and ends with identical shots of Willard on the bow of the boat riding into (or out of) mist. The set up and conclusion of a dream sequence, perhaps? An imaginary Vietnam where Willard can find warm food, clean clothes, opium and sex? Is this his Elysium, where he'll go once he dies? It's certainly better than his reality. Whether intentional or not those clever visual parentheses tell me that the inclusion wasn't gratuitous.
As for the other additions, I'm mixed. Kilgore's obsessiveness over surfing (and his surfboard) is so overdone, and to such unbelievable excess that he becomes a caricature. His comic, yet menacing behavior is replaced by plain, vanilla-flavored looniness; just another Vietnam War kook. Ho hum.
Also seeing Kurtz for the first time in full daylight, when he releases Willard from the hot box, only serves to diminish his mythic persona as a nocturnal, predatory beast. Not only do we see is very un-Green Beret and immense girth, we also seem him like some New Age Laguna Beach burnout on a fashionably-Buddhist jungle retreat.
But I'm very pleased with the restorationa and transfer. The entire work has given me more food for thought on one of the most complex American films. But oh, do I wish there was a commentary from Coppola, Milus and Sheen.
on October 31, 2015
i have lost count as to how many times i have watched this movie. i've never grown tired of it since this is a movie that can be enjoyed and interpreted on so many levels. they just don't make movies like this anymore.
after recently finally watching the riveting documentary on the making of this film (Hearts of Darkness:a filmmakers journey into madness), i'm even more amazed that this film even got finished, yet alone turn out so great.
the fact that they actually filmed this movie in the jungles of the Phillipines is the film's greatest asset. you actually FEEL like your in Vietnam.
all of the actors are fantastic with my favorites still being Robert Duvall ("I love the smell of napalm in the morning!!") martin sheen, and the great Marlon Brando.
a lot of people complain that the film gets too murky, weird and cerebral near the end. well, remeber what Coppolla said about this movie, "This film is not about vietnam, it IS vietnam!" what he means is that this film is about MADNESS and not the war.
this movie is based on the short story "Heart of darkness" by Joseph Conrad and is set against the vietnam war instead of the civil war as in the book. i think that was a brilliant combination in my opinion.
this is perfect, challenging film that is dark, violent, humorous at times and well done in every single possible way.
a true classic
after recently finally watching the riveting documentary on the making of this film (Hearts of Darkness:a filmmakers journey into madness), i'm even more amazed that this film even got finished, yet alone turn out so great.
the fact that they actually filmed this movie in the jungles of the Phillipines is the film's greatest asset. you actually FEEL like your in Vietnam.
all of the actors are fantastic with my favorites still being Robert Duvall ("I love the smell of napalm in the morning!!") martin sheen, and the great Marlon Brando.
a lot of people complain that the film gets too murky, weird and cerebral near the end. well, remeber what Coppolla said about this movie, "This film is not about vietnam, it IS vietnam!" what he means is that this film is about MADNESS and not the war.
this movie is based on the short story "Heart of darkness" by Joseph Conrad and is set against the vietnam war instead of the civil war as in the book. i think that was a brilliant combination in my opinion.
this is perfect, challenging film that is dark, violent, humorous at times and well done in every single possible way.
a true classic
on February 5, 2016
It isn't just a accurate movie of the atmosphere. The storyline is very revealing to the state of mind of that war, over there, away from the DC's children they would have let it continue to make all the money they could stash. The attrition rate didn't matter anymore. Greed was the only excuse not the Domino Theory. Speaking from 1st hand experience. Greed made it unwinnable. !!
on March 20, 2013
I completely acknowledge and admit that this movie is great in many ways, but my enjoyment of it only extends to "pretty good." The Valkyries scene is great and it's always incredibly tense, but some of the imagery just doesn't jive with me. When the villagers start chopping the bull, it looks real and freaks me out. And I never understood why so many people devolve into madness. I know it's a metaphor, but the execution never quite sat well with me. However, it has a lot of great production stories, iconic lines and characters, and is incredibly effective.
