Review of Apocalypse Now (1979) by Phillip D — 09 Jul 2015

It is a special challenge to describe what is undoubtedly one of the greatest American films of all time. Part horror, part drama, part psychological thriller, part art house, part action and part epic, the film is a shockingly well executed, despite the gauntlet ran by everyone who produced it.

Unlike the comparably tame and individually focused art house film industry of today, Apocalypse Now is a raw piece of widely impacting work, pulling no punches philosophically as it offers a deeply artistic and cinematically impressive view of the conflict in Vietnam, utilizing an effective mixed genre soundtrack, gritty lighting and all-in performances from a legendary cast.

The result is an enrapturing journey that neither condemns or condones the activities in Vietnam, choosing instead to present the horrors, the sorrow, the violence and the good in an intimate, closely shot and extremely realistic package that allows the viewer to make their own decisions and more importantly, offers an accessible way for the American public to begin to move past the disaster that was Vietnam.

The audience isn't just shown Vietnam, nor are they told what happened there. Instead, Coppola creates a world for the audience to immerse themselves in, even as they reel in disgust at the realization that the world is their own.

The incredible aspect of the film, which defines its greatness, is the rare timelessness it carries, successfully blending the older, traditional epic styles of the previous decades with the choppy post-modern film style that has grown increasingly popular and diluted in recent years.

Sheen, Brando and the rest of the cast shine together, offering the epic lines and stirring shots of the older generation while simultaneously offering emotion packed close-ups and shadowed symbolism.

Overall, Apocalypse Now is a culturally encompassing and timeless work, relevant to generations of the past, present and future as tale of woe and the horrors that descend upon us when we result to war.

The most shocking thing about this movie is that it didn't win Best Picture, losing out to the relatively trivial Kramer vs. Kramer, a testament to the shortsighted nature of the Academy.