Varying Interpretations of Heart of Darkness and Apocalypse Now

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Varying Interpretations of Heart of Darkness and Apocalypse Now The true meaning of varying interpretations comes alive when one compares the two film versions of Heart of Darkness by Joseph Conrad. Heart of Darkness and Apocalypse Now have the same basic outline and underlying themes, however the plots, characters, settings, time, purposes, and points of view differ enough to create two extremely different effects and two entirely opposite movies. Both movies depict an insanity: of man in Heart of Darkness and of war in Apocalypse Now. It is ironic that Heart of Darkness, the movie replica of the novel, is a boring, slow-paced flop of a production, while Apocalypse Now, a loosely based film, had great success and audience…show more content…
Marlow watches Kurtz die and whisper his last words, "The horror! The horror!" Marlow returns home to visit Kurtz's fiancé and, instead of telling her that Kurtz went crazy in the jungle, he upholds her belief that Kurtz was a great man. The story flashes back to present time where the Nellie is sailing away into the "heart of darkness" (Heart of Darkness: Theme/Symbol/Allusion/Foreshadow). The similarities between the novel and movie versions of Heart of Darkness are numerous, right down to exact quotations, costumes, and scenes. In the opening scene, Marlow describes his expedition into the Congo as "the farthest point of navigation" and "the culminating point of my experience" exactly as in the book (Conrad 70). The movie accurately depicts the women knitting black wool and the colored map with the snake-like river as Conrad vividly describes them (pp. 73-74). The mood of the scene when Marlow and his crew finally approach Kurtz's Inner Station is also well-depicted with the foggy air, the noises in the forest (p. 110), the fighting of the crew members (pp. 110-114), the eyes hiding in the bushes (p.114), the swarm of arrows that attack the boat and kill Mfumu, (pp. 119-120) and the cannibals falling from the trees after Mfumu is thrown overboard (p. 124). The mental image of Kurtz that Conrad portrays in his physical and emotional description is also shown suitably in the
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