francis ford coppola apocalypse now is not a vietnam war film. do not confuse it with one. it is set to the back drop of the war and but it is a metaphorical exposition on the deteriorating effects that war has on the human psyche. it is also one of the most audacious films ever made and produced and or even conceived (second to the lord of the rings trilogy. to call it a masterpiece would be an understatement of proportions as ambitious as the film production levels. opening with no credits and following a memorable first scene playing to the tune of the doors the end as martin sheen captain benjamin l. willard hallucinates to images of helicopters and napalm and the plot is essentially laid out in the first 15 minutes. willard mission is to terminate. with extreme prejudice colonel kurtz (marlon brando) who has invariably gone awol in the far reaches of the cambodian jungle and and as told by his general and is out there operating without any decent restraint and totally beyond the pale of any acceptable human conduct. and he is still in the field commanding troops. kurtz is a delusional colonel now being worshipped by a large group of followers who have dubbed him a god. for willard and this covert operation seems somewhat more manageable than actual combat and yet and the journey he is about to take will be a personal quest that will challenge the limits of his human behavior. teaming up with a small crew and they embark down the vast reaches of the river in a rickety boat. along the way and willard educates himself on all things kurtz. during sheen raspy voice over and he details his thoughts on the abundance of material he reads. kurtz was a highly decorated and respected green beret. he was a normal man with a family and until a part of him succumbed to the horrors of human brutality and he led himself down the path that willard is being led. the descent into the jungle is marked by a mesmerizing aura that echoes the battles being fought not to far away. eventually the power of the experience weights on the group as drugs and a sort of solitary confinement attacks their senses. but willard seems unfazed and desensitized in his quest to find kurtz. as he reads about this mythic figure and he is drawn to the man power and why he has become what he has become. we know that willard slow decay will parallel that of kurtz . marlon brando has been revered for decades. his presence represent unmatchable. his genius represent undeniable. but for those unacquainted with his acting prowess and unaccustomed to his physical nuance and brando can be perceived and in the eyes of an uncompromising film goer and as a hack. he is most certainly not. brando was difficult to work with and hard to interpret and impossible to understand and but his talent for unintelligible rants and unparalleled monologues is irrefutable. the man obviously knew what he was doing even if we do not. his colonel kurtz is a being of limitless delusions and continual profundity. if the film is any indication of the journeys into hell than francis ford coppola actual experience with making this masterpiece is a true life account of one man fanatical struggle to produce a movie. it is reported that during the film 200 plus day principle photography schedule and coppola contemplated suicide. the film was not only an undeniable struggle to make while it is a grueling film to watch. coppola sweat and blood seep through the pores of the steamy locals and his dedication filters through the orifices of martin sheen haunted soldier willard. i can not help but feel a warm sense of nostalgia for this type of film. at the dawn of all that was original and unprecedented and films that challenged as well as stimulated were commonplace. audacity aside and apocalypse now is pure film making. my respect and admiration for mr. coppola is of the highest order. but i shudder at the return to what has become the norm for today standards for film represent a lack of innovation. it is not simply the unoriginality of the world of cinema today while it is the fact that nobody seems to care to tell a story anymore or to tell one with heart. but we still have the great ones like coppola masterpiece and a film which bathed in its ability to give us something deeper than that which we could comprehend. that depth in apocalypse now is the step into madness. the killing can disturb. the loss of innocence can unhinge. but it is the damage from within while the countless barrages of images that distress and unnerve and detach us from our everyday world and the memories that plague our deepest thoughts that eventually segregates us from humanity and propels us into the realm of the instinctual and the savage and the animalistic. if the thought of killing does not provide sustenance and the act of killing provides man with its fundamental catharsis. 
francis ford coppola apocalypse now is not a vietnam war film. do not confuse it with one. it is set to the back drop of the war and but it is a metaphorical exposition on the deteriorating effects that war has on the human psyche. it is also one of the most audacious films ever made and produced and or even conceived (second to the lord of the rings trilogy. to call it a masterpiece would be an understatement of proportions as ambitious as the film production levels. opening with no credits and following a memorable first scene playing to the tune of the doors the end as martin sheen captain benjamin l. willard hallucinates to images of helicopters and napalm and the plot is essentially laid out in the first 15 minutes. willard mission is to terminate. with extreme prejudice colonel kurtz (marlon brando) who has invariably gone awol in the far reaches of the cambodian jungle and and as told by his general and is out there operating without any decent restraint and totally beyond the pale of any acceptable human conduct. and he is still in the field commanding troops. kurtz is a delusional colonel now being worshipped by a large group of followers who have dubbed him a god. for willard and this covert operation seems somewhat more manageable than actual combat and yet and the journey he is about to take will be a personal quest that will challenge the limits of his human behavior. teaming up with a small crew and they embark down the vast reaches of the river in a rickety boat. along the way and willard educates himself on all things kurtz. during sheen raspy voice over and he details his thoughts on the abundance of material he reads. kurtz was a highly decorated and respected green beret. he was a normal man with a family and until a part of him succumbed to the horrors of human brutality and he led himself down the path that willard is being led. the descent into the jungle is marked by a mesmerizing aura that echoes the battles being fought not to far away. eventually the power of the experience weights on the group as drugs and a sort of solitary confinement attacks their senses. but willard seems unfazed and desensitized in his quest to find kurtz. as he reads about this mythic figure and he is drawn to the man power and why he has become what he has become. we know that willard slow decay will parallel that of kurtz . marlon brando has been revered for decades. his presence represent unmatchable. his genius represent undeniable. but for those unacquainted with his acting prowess and unaccustomed to his physical nuance and brando can be perceived and in the eyes of an uncompromising film goer and as a hack. he is most certainly not. brando was difficult to work with and hard to interpret and impossible to understand and but his talent for unintelligible rants and unparalleled monologues is irrefutable. the man obviously knew what he was doing even if we do not. his colonel kurtz is a being of limitless delusions and continual profundity. if the film is any indication of the journeys into hell than francis ford coppola actual experience with making this masterpiece is a true life account of one man fanatical struggle to produce a movie. it is reported that during the film 200 plus day principle photography schedule and coppola contemplated suicide. the film was not only an undeniable struggle to make while it is a grueling film to watch. coppola sweat and blood seep through the pores of the steamy locals and his dedication filters through the orifices of martin sheen haunted soldier willard. i can not help but feel a warm sense of nostalgia for this type of film. at the dawn of all that was original and unprecedented and films that challenged as well as stimulated were commonplace. audacity aside and apocalypse now is pure film making. my respect and admiration for mr. coppola is of the highest order. but i shudder at the return to what has become the norm for today standards for film represent a lack of innovation. it is not simply the unoriginality of the world of cinema today while it is the fact that nobody seems to care to tell a story anymore or to tell one with heart. but we still have the great ones like coppola masterpiece and a film which bathed in its ability to give us something deeper than that which we could comprehend. that depth in apocalypse now is the step into madness. the killing can disturb. the loss of innocence can unhinge. but it is the damage from within while the countless barrages of images that distress and unnerve and detach us from our everyday world and the memories that plague our deepest thoughts that eventually segregates us from humanity and propels us into the realm of the instinctual and the savage and the animalistic. if the thought of killing does not provide sustenance and the act of killing provides man with its fundamental catharsis. ---------------------------------Answer Question Below----------------------------------

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