#30 Apocalypse Now

“It’s a way we had over here for living with ourselves. We cut ’em in half with a machine gun and give ’em a Band-Aid. It was a lie. And the more I saw them, the more I hated lies.” 

Captain Willard

Francis Ford Coppola’s masterpiece about the Vietnam War gets under your skin, and stays there. Martin Sheen’s vacant face will burn itself into your retinas, and the haunting last lines will repeat in your head long after the credits have finished.

The film, which opens without any credits, title, or any sort of recognition that you are watching a movie, follows Captain Willard (Martin Sheen) on a top-secret mission, that doesn’t exist and will never exist, to kill Colonel Walter Kurtz (Marlon Brando), a rogue special forces agent that has set himself up as a God among the Cambodian people.

Willard, whose motivations are questionable at best, is sent up river with a group of four others and, on his way, experiences nearly everything the Vietnam War has to offer.

The first real action that the group faces is when they encounter Lt. Colonel Kilgore (Robert Duvall), head of the Helicopter Calvary group. With his help they wipe out a Viet Cong outpost and gain access to the Nung River.

On the river, Willard and his troop encounter all sorts of non-threatening action from USO shows, to an encounter with some playboy bunnies. But at they get further down the river, the stakes get higher, and the firefights become more frequent.

As the group arrives at the US’s last outpost it becomes apparent that the further they go into the heart of darkness that is the jungle, the more they will struggle to retain their sanity.

The last encounter Willard and his group have before their confrontation with Colonel Kurtz, is with a French family that has been working since the start of the war to keep a plantation that they own operational. Here Willard is confronted with, not only the futility of the war, but also the abject morality of it.

Until this point the tone of the film is mostly passive and confused, perhaps mirroring the American apathy and misinformed nature of the American people during this time. However, as soon as Willard’s ship passes into Cambodia, and the group is finally forced to confront Colonel Kurtz, the film grips the viewer and refuses to let go.

The moment Brando appears on screen the film becomes his. Every movement, every word, every shadow that comes across his face, is perfect.

Brando’s performance though, does not overshadow Sheen’s, which caries the first three hours of the film (yah, first three hours). Sheen is cold, detached, and nearly perfect. But the performances are not what should attract people to this film.

Coppola, whose interference I was not a fan of in The Godfather, dedicated so much of himself to this film, and it paid off. Every shot is meticulously planned. Close ups of actors’ faces are never just close-ups. They are haunting examples of the effects of horror on the human psyche, or the duality of man.

Even themes that would seem cliché normally seem fresh and new in this film. This is due to the fact that these themes do not exist in dialogue or self-righteous narration. Instead they are displayed visually. This lets the viewer discover these themes for his or her self, and the result is nothing short of moving.

Ultimately this film can be talked about as a masterpiece without even touching on the performances of Dennis Hopper, Harrison Ford, and Laurence Fishburne. If that’s not a tribute to just how good this film is, I don’t know what is.  I’ll leave you with this monologue.

“I’ve seen horrors… horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that… but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror… Horror has a face… and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies! I remember when I was with Special Forces… seems a thousand centuries ago. We went into a camp to inoculate some children. We left the camp after we had inoculated the children for polio, and this old man came running after us and he was crying. He couldn’t see. We went back there, and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember… I… I… I cried, I wept like some grandmother. I wanted to tear my teeth out; I didn’t know what I wanted to do! And I want to remember it. I never want to forget it… I never want to forget. And then I realized… like I was shot… like I was shot with a diamond… a diamond bullet right through my forehead. And I thought, my God… the genius of that! The genius! The will to do that! Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we, because they could stand that these were not monsters, these were men… trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love… but they had the strength… the strength… to do that. If I had ten divisions of those men, our troubles here would be over very quickly. You have to have men who are moral… and at the same time who are able to utilize their primordial instincts to kill without feeling… without passion… without judgment… without judgment! Because it’s judgment that defeats us.”


#25 To Kill A Mockingbird

“If you just learn a single trick, Scout, you’ll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view… Until you climb inside of his skin and walk around in it.”
Atticus Finch

If there’s one thing that American writers do well it is to tell their story in an almost autobiographical style, change people’s names, and call it fiction. Harper Lee is no exception. Thankfully, some things happened in her life that were more entertaining than painting a fence (Why Twain…why?). With that hang up aside, I did actually enjoy this film.

Scout Finch (Mary Badham) is a six-year-old girl who is just about to discover the word in all its both horrific, and redeeming qualities. It is the last summer before she is to attend school, and, though her life is quite carefree, it is quickly becoming apparent that the next year of her life will change her forever.

When Scout’s father Atticus (Gregory Peck) is asked to defend Tom Robinson (Brock Peters), a black man who has been accused of rape, the world begins to close in quickly on Scout. She is now forced to deal with the horrors of the world that had previously eluded her.

This is quite a shock to Scout and her brother Jem (Phillip Alford). Previously, the darkest thing that had existed in their world was Arthur “Boo” Radley (Robert Duvall), an intellectually stunted shut-in neighbor whose reputation in the neighborhood had garnered much scandal.

As the trial draws closer, hostility towards the Finch family reaches a boiling point. Prejudice quickly blinds the town of Monroeville, and Atticus quickly assumes the role of the town pariah.

As the trial moves on two things become clear: Tom is not guilty of the crime that he has been accused of, and it does not matter. It is up to Atticus, the American Film Institute’s all time greatest hero, to prove Tom’s innocence at all costs.

The film is a delight to watch. Scout, is an engaging protagonist. Discovering depression-era Alabama through the eyes of an optimistic six-year-old is an effective tool that creates a genuine mood of discovery. This was aided by the superb performance of Mary Badham who, with excellent direction, was able to portray Lee’s fictional counterpart in a way that was deserving of her Oscar nod.

Nothing can be said about the acting in this film though without addressing Gregory Peck. Much like Bogart in Casablanca, or Brando in On The Waterfront, Peck has a certain indefinable quality about him in this film. It is nearly impossible to look away from him whenever he is on the screen.

It is nearly impossible not to feel nostalgic as Scout and Jem run out to greet Atticus when he returns from work, or are scolded for being obviously wrong, perhaps this is due to the fact that Peck reminds me of my own dad (something that Lee, myself, and quite a few other people have in common).

By far the most intriguing aspect of this film is Atticus’ integrity. The fact that he defended a man that no one else would is a testament to this, but there are so many other examples.

When Atticus “takes care” of a mad dog, any notion of that his children had about him being too old for action was eradicated, but this is not what earned him their respect. When a man spits in Atticus’s face, Atticus does not retaliate, he simply wipes his face, and walks away. This is not an indication of his cowardice though. Instead it is a beacon of his strength. But Atticus is not done teaching his children lessons there.

Atticus does not simply tell his children what to do. He lives in a way that he expects his children to, and if there is any lesson that needs to be learned by today’s society from this film, it is that. When Scout asks Atticus why he is defending Tom when everyone else says it is wrong Atticus responds with a simple answer. He tells her that if he didn’t, he wouldn’t be able to hold his head up high, or tell her and Jem not to do anything.

Atticus’s complete lack of hypocrisy, and his stern integrity, is what make him the greatest hero in American film history.

The story is well known, and important, today, yesterday, and tomorrow. It is not the most entertaining film, but the characters are engaging enough to keep the attention of the viewer. The titular metaphor…I don’t think it needs to be explained.  And the writing, with a few not-so-important omissions, remains quite true to the novel. It is definitely well one and deserves to be watched by everyone.