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Dom Robinson reviews

Apocalypse Now

Distributed by

Paramount

    Cover
  • Cert:
  • Cat.no: PHE 8043
  • Running time: 146 minutes
  • Year: 1979
  • Pressing: 2000
  • Region(s): 2, PAL
  • Chapters: 19 plus extras
  • Sound: Dolby Digital 5.1, Dolby Digital 4.0, Dolby Surround
  • Languages: English, Italian, German
  • Subtitles: 7 languages available
  • Widescreen: 2.00:1
  • 16:9-Enhanced: Yes
  • Macrovision: Yes
  • Disc Format: DVD 9
  • Price: £19.99
  • Extras : Theatrical Trailer, Excerpts from the original theatrical programme, Destruction of the Kurtz Compound with director's commentary

  • Director:

      Francis Ford Coppola (Apocalypse Now, Bram Stoker's Dracula, The Conversation, Dementia 13, Finian's Rainbow, The Godfather 1-3, Jack, John Grisham's The Rainmaker, The Outsiders, Rumble Fish)

    Producer:

      Francis Ford Coppola

    Screenplay:

      John Milius and Francis Ford Coppola

    Music:

      Carmine Coppola and Francis Ford Coppola

    Cast:

      Captain Benjamin L. Willard: Martin Sheen
      Lieutenant Colonel Kilgore: Robert Duvall
      Colonel Walter E. Kurtz: Marlon Brando
      Chef (Hicks): Frederic Forrest
      Chief Phillips: Albert Hall
      Lance Johnson: Sam Bottoms
      Mr. Clean (Miller): Laurence Fishburne
      The Photojournalist: Dennis Hopper
      Colonel Lucas: Harrison Ford
      Colby: Scott Glenn


Bizarre and captivating are two words I can use to describe Apocalypse Now, Francis Ford Coppola's contribution to the Vietnam war films which has neither opening, nor official closing credits.

Captain Benjamin L. Willard (Martin Sheen) is back in the jungle for another tour of duty. He learns that the demented Colonel Walter E. Kurtz (Marlon Brando) is about to be arrested after he ordered the execution of some Vietnamese intelligence agents who he believed were double agents. Willard's mission, should he choose to accept it, is to kill Kurtz but the guy is a law unto himself and it's not going to be a walk in the park.

There's many a poigniant scene here such as when hard-nosed Sgt. Kilgore (Robert Duvall) takes to bombing the Vietnamese by organising the gunships to charge to the strains of Wagner's Ride of the Valkyries to a scene a little later where he utters the memorable phrase of "I love the smell of napalm in the morning".

Martin Sheen had a heart-attack while filming, Dennis Hopper takes the role of a photojournalist on the side of Kurtz and there are appearances for a much-younger Harrison Ford and Larry Fishburne.

Songs of the era are included as is the controversial sacrificing of a cow as Kurtz is murdered. This scene was left in because it's part of a real-life ritual, despite the BBFC's tendancy not to portray cruelty to animals.


I have a beef with the picture, but the principal problem is not Paramount's fault. Originally shown in cinemas at 2.35:1, any print intended for viewing at home has been cropped to 2.00:1 at the insistance of cinematographer Vittorio Storaro. Most scenes are still fine, but nothing can beat the original ratio and to this day I've never understood his decision. I have seen a portion of this in the full widescreen ratio of 2.35:1 on ZDF TV. "Ich liebe die smell der naplam im morgen", anyone?

At times there are some scratches on the print and it looks a little grainy at times, but the anamorphic presentation helps. The average bitrate is 5.91b/s, occasionally peaking over 9Mb/s.

The sound has been remastered in Dolby Digital 5.1 for English only. A very good job has been made of it with explosions and gunfire making the best use of your speakers and when Wagner gets going, there's some great rear-sound action as the choppers approach.


Extras :

There's only a handful of extras, but what's here is definitely welcome, starting with a near-four-minute Theatrical trailer in anamorphic 16:9 widescreen.

The end credits are counted as an extra - and appear in two forms - because, believe it or not, for those who saw the original 70mm cinematic presentation the film ended with Willard sailing off into the distance and a 1979 copyright notice appearing onscreen. As the customers left the cinema they were handed a brochure with printed credits.

The Excerpts from the original theatrical programme comprise of a brief intro by Coppola followed by selected highlights from the shooting log over the 238 days of filming.

When I saw the film at the Keele Film Society in the early 1990s, the print we saw had the "apocalyptic end sequence", with the closing credits played over the top. This version was later released on video. It's this scene that features as the extra, Destruction of the Kurtz Compound with director's commentary, without the credits on top though. You only see those over Coppola's alternate ending that he doesn't like to call an alternate ending. It's just a plain black screen.

For such a long film, the chaptering is woefully inadequate with a mere 19 to the film. The main menu is animated with a copy of the film's opening and the helicopter crossing the scene before the jungle is bombed.

For the English dialogue we have a remastered Dolby Digital 5.1 soundtrack, the Italians get Dolby Digital 4.0 - so no centre channel nor subwoofer for them - and the Germans get plain surround. Subtitles are available in English (and hard of hearing), Danish, Dutch, German, Italian, Norwegian and Swedish.


Francis Ford Coppola is certainly a thorough and unconventional director and the film is a must-see, if only the once, for many of its key scenes, but the whole is definitely less than the sum of its parts.

It's one to double-bill with Tartan Video's Hearts of Darkness: A Film-Maker's Apocalypse, a 92-minute 'making of' which is available on video but has yet to make it onto DVD.

FILM CONTENT
PICTURE QUALITY
SOUND QUALITY
EXTRAS



OVERALL

Review copyright © Dominic Robinson, 2000.

DVDfever.co.uk - Est. February 25th 2000

As of April 2009, Blu-rays and DVDs reviewed by the editor are watched on a Panasonic TH-37PX80B 37" Plasma TV with a Sony BDP-1500 Blu-ray player and played through a Yamaha DSP-AX820 amplifier.

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