In Search of the Unknown: Apocalypse Now

Joseph Conrad’s book, Heart of Darkness, Francis Coppola’s film, Apocalypse Now, and Werner Herzog’s film, Aguirre Wrath of God are very interesting productions, each with their own unique point of view and illuminating agenda. The book in itself and the films prove to be an excellent source about violence brought on by imperialism and/or colonialism and how, as a consequence, the definition of civilized and savage becomes blurred. Via the films, “The audience can derive a lot of pleasure not only from listening to melodies and rhythms that create moods and heighten emotions provoked by the story, but also from analysing the ways the music reinforces the symbolic richness of the literary work, establishes new relationships between its elements, sheds a new light on its meanings and multiplies its interpretative perspectives (Marciniak 67). Having said this, that is not to say that Heart of Darkness lacked in keeping my attention. I very much enjoyed the internal and external dialogue that Conrad provides along with his descriptive commentary about the events at hand. Although the films are considered adaptations of Conrad’s book, they both have distinctive ways of getting the same concepts across to an audience. All in all, after reading and viewing these constructions it is clear that every individual is able to create their own outlook on how they prefer to view the delineations of what it takes to be considered civilized or savage; of course, through the mediums

In the novella Heart of Darkness, and the film Apocalypse Now, both Joseph Conrad and Francis Ford Coppola question the supposed dichotomy between civilized society and uncivil savagery. Although both the novella and the film differ in setting, Africa and Vietnam respectively, both [uncover] man’s primeval nature, as their protagonists journey down the respective rivers, and descend into the heart of darkness. Perhaps the most significant aspect in the journeys of both Marlow and Willard, is witnessing the psychological breakdown of “civilized” men as their removal from society and exposure to the primitive practices of the “savages” living in the jungle, unleashes their own primordial instincts. This frightening observation effectively conveys

I have always enjoyed movies. But at some point I started to think of movies as more than just entertainment. I began to view them as a movie critic would, rather than just a casual viewer. Because of this perspective, I think of "Apocalypse Now" as one of the best American made movies I have ever seen. As a student of and an active participant in the late twentieth century media age, I feel justified in making this statement. In my lifetime of observation of American media, including fourteen months of intense movie watching in conjunction with my employment at a local video store, I have had an opportunity to observe a broad sampling of the films, and feel more than qualified to make this statement. By referring to

Heart of Darkness relies heavily on lengthy philosophical and expository passages, as well as some very unusual and complex imagery; “not the easiest material to rewrite as a screenplay” (Canby, 18). However, rewrite it Francis Ford

In Heart of Darkness and Apocalypse Now, both Joseph Conrad and Francis Ford Coppola create similar statements through their creations as they both centralize their views upon the effects of environmental changes that affect the human condition. The film Apocalypse Now vaguely reflects a similar message pursued by Conrad’s novella, due to the difference in time period, place setting, and circumstances in which the film was created. Conrad wrote his novella during British colonization, focusing upon imperialism. Coppola’s film similarly focused upon the barbaric nature of man, which demonstrates the insanity of the Vietnam War. In Heart of Darkness, Conrad centers his main focus upon the journey of Marlow, a sailor, who travels into

    In 1979, Francis Coppola released a film that he said he hoped "would give its audience a sense of the horror, the madness, the sensuousness, and the moral dilemma of the Vietnam war" (as quoted in Hagen 230). His film, Apocalypse Now, based on Joseph Conrad's 1902 novel Heart of Darkness, is the story of Captain Benjamin Willard's (Martin Sheen) journey to the interior of the jungle of Southeastern Asia for the purpose of executing his orders to track down Colonel Walter E. Kurtz (Marlon Brando). Once Kurtz is located, Willard is to "terminate his command with extreme prejudice" because Kurtz has raised an army of deserters and natives, whom he

The apocalypse is a very popular theme throughout the modern day film and literature industry. In all of these pop culture renditions, the apocalypse and doomsday go hand-in-hand. The apocalypse today is seen as the end of the world, natural disasters, mass illnesses or climate change are said to destroy the world and humankind along with it. However, the term “apocalypse” has been around long before the movies and books. Originally, the apocalypse did not always mean the end of the world. The word “apocalypse” comes from the Greek word “apokalypsis”, which also means “revelation” or to uncover a hidden truth (Dayton 7, 2). Therefore, the original concept of the apocalypse is a disclosure of knowledge, revelation or a lesson to be taught. In

When Joseph Conrad sat down to write Heart of Darkness over a century ago he decided to set his tale amidst his own country's involvement in the African Congo. Deep in the African jungle his character would make his journey to find the Captain gone astray. Over eighty years later Francis Ford Coppola's Willard would take his journey not in Afica but in the jungles of South Asia. Coppola's Film, Apocalypse Now uses the backdrop of the American Vietnam War yet the similarities between the Conrad's novel and Coppola's film remains constant and plenty.

following the story line of the Heart of Darkness is amazing although the settings of each story are from completely different location and time periods. From the jungle of the Congo in Africa to the Nung river in Vietnam, Joseph Conrad's ideals are not lost. In both the book and the movie, the ideas of good and evil, whiteness, darkness, and racism are clear. Also, characterization in both the novel and the movie are very similar. Both The Heart of Darkness and Apocalypse Now examine the good and evil in human

Various parallels can be drawn when comparing and contrasting Joseph Conrad's Heart of Darkness and Frank Coppola's "Apocalypse Now", while taking into consideration Heart of Darkness is a novella and "Apocalypse Now" is a film. These differences and similarities can be seen in themes, characters, events and other small snippets of information including anything from quoted lines to strange actions of the main characters. Both pieces follow the same story line but they are presented in different contexts, allowing for many differences as well as the ability to see how Conrad is able to write a piece of literature that can be transposed to many different settings regardless the time period and still convey the same message of colonialism.

   In the opening scenes of the documentary film "Hearts of Darkness-A Filmmaker's Apocalypse," Eleanor Coppola describes her husband Francis's film, "Apocalypse Now," as being "loosely based" on Joseph Conrad's Heart of Darkness. Indeed, "loosely" is the word; the period, setting, and circumstances of the film are totally different from those of the novella. Yet, a close analysis of character, plot, and theme in each respective work reveals that Conrad's classic story of savagery and madness is present in its cinematic reworking.

Francis Ford Coppola’s Apocalypse Now lacks the impact of its inspiration, Joseph Conrad’s Heart of Darkness. While the basic elements of imperialism and human nature remain intact, the characters of the film bare little resemblance to their literary counterparts. The film serves as a re-interpretation of Conrad’s novella, updated from 19th-century British imperialism in the Congo to a critique of 20th-century U.S. imperialism in Southeast Asia. Coppola’s changes in setting and plot structure, however, force the film to sacrifice the character development so crucial in the literary work. This detracts from the overall effectiveness of the film.

Heart of Darkness, written by Joseph Conrad and “Apocalypse Now”, a movie directed by Francis Coppola represent two outstanding examples that compare relevant ideas regarding racism, colonialism, and prejudices. The two combine film along with descriptive language to portray their mastery during different eras. For Heart of Darkness, Conrad uses his writing techniques to illustrate Marlow in the Congo, while in “Apocalypse Now”, Coppola uses film editing and close ups on important scenes with unique sounds to identify Willards’ quest for Kurtz. Both portray the idea of colonization in foreign lands that otherwise may have been uninhabited by their own people if left alone.

Beyond the shield of civilization and into the depths of a primitive, untamed frontier lies the true face of the human soul. It is in the midst of this savagery and unrelenting danger that mankind confronts the brooding nature of his inner self.  Joseph Conrad’s novel, Heart of Darkness, is the story of one man's insight into life as he embarks on a voyage to the edges of the world. Here, he meets the bitter, yet enlightening forces that eventually shape his outlook on life and his own individuality. Conrad’s portrayal of the characters, setting, and symbols, allow the reader to reflect on the true nature of man.

Joseph Conrad’s short novel, Heart of Darkness, is a story of imperialism in the Congo that depicts the mistreatment of the african natives by european imperialists. Conrad’s tale is often seen as controversial for its racist use of slang and image of Africa and its people as a whole. However, Conrad wrote the book as a means of viewing the horrid actions of imperialism, through the eyes of a european.