Apocalypse Now Essays

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Apocalypse Concerning the Apocalypse in Art of the Technological Era Essay

Words: 4255 Length: 10 Pages Document Type: Essay Paper #: 44389119

Apocalypse of Art in the Tech Era

Modern Apocalypse Art and Technological Aspects

The purpose of this paper is to examine modern art, in particular that which is referred to as "apocalypse art" and further to examine the interactions between art and technology. Specifically this paper will look at the new dimensions that technology has contributed to the rendering of art as well as what contribution or impact that art has rendered to technology.

The methodology for this study is through examination of several of the artists as well as scholars who are in some way interconnected in this process of producing apocalypse art.

The question that seems to weigh on the minds of those who view the modern "apocalypse" art exhibits asks:

Has this artist attempted to achieve the effect of shock or is the artist attempting to convey some deeper truth?"

London's Art Gallery featured an exhibit entitled "Apocalypse" in the year of 2000. Reports were many but the theme of the reports were pretty much the same which was that of shock, ridicule and disbelief that the artist could take themselves as "real." Reuters News, London, description of the exhibit was:

giant sculpture in the shape of a swastika, a model of the pope being crushed by a meteorite, and a large pile of rubbish." (Reuters News 2000)

The report coming from CNN stated that:

An art exhibition featuring a model of the Pope struck dead by a meteorite, tortured miniature figures and a video depicting domestic violence is set to bring fresh controversy to London's Royal Academy of Art. (CNN News 2000)

I. Joe-Peter Witkin: Exploitive, Sensitive and Intuitive

Art can be said to be the demonstration of a set of ideas, beliefs or even ideals, as well as a conscious moments when realization of that which is sublime is awakened. When these moments, after having risen to the sublime, sweep low…… [Read More]

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Analyzing Two Characters in a Fiction About an Apocalypse Essay

Words: 1087 Length: 3 Pages Document Type: Essay Paper #: 68736173

Walk to the End of the World

It is a post-apocalyptic account of a journey of a father and his young son over a time of several months, across a landscape blasted by an unspecified cataclysm that has destroyed most of civilization and, in the interceding years, all life on Earth. George and his child Tim proceed with a trip together where they know they won't survive. The area is loaded with fiery remains and without living creatures and vegetation. A significant number of remaining human survivors have depended on savagery, searching the debris of city and nation alike for substance. The boy's mom, pregnant with him at the season of the catastrophe, surrendered trust and conferred suicide some time before the story started, in spite of the father's requests. Acknowledging they can't survive the approaching winter where they are, the father takes the boy south, along unfilled streets towards the ocean, conveying their small belonging in their rucksacks and a general store truck.

When he woke up in the woods, it was dark. He reached out to touch the boy resting close to him. Evenings dull past dimness. Furthermore, the days dimmer than what had gone some time recently. With the first dim light, he climbed and left the boy resting and exited to the street and studied the country to the south. He thought the month was October yet he wasn't certain. He hadn't kept a calendar for a considerable length of time. They were moving south. There'd be no surviving another winter here. When he returned, Tim was still snoozing. He pulled the blue plastic tarp off him and did it to the grocery truck and stuffed it. About an hour later, they were on the road. Fiery debris moving over the street and the drooping hands of visually impaired wire hung from the darkened light poles crying daintily in the wind. A burned house in a clearing and past that a scope of grounds stark and dark. Everything as it once had been was now faded and weathered. There were no indications of life there, simply smoldered structures, autos secured in dust, and a dried body in the entrance. It was the end of the day now. They walked up a slope and got their covers to spend the night there. They lit a light. Tim peeked at his father. His…… [Read More]

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Heart of Darkness by Joseph Conrad Essay

Words: 2318 Length: 7 Pages Document Type: Essay Paper #: 74093154

Heart of Darkness and Apocalypse Now

Comparing and Contrasting Coppola's Apocalypse with Conrad's Darkness

While Francis Ford Coppola's Apocalypse Now is framed by the music of The Doors, Joseph Conrad's novella Heart of Darkness, upon which the film is based, uses the narration of Marlow as a framing device for the murky tale of the "horror" that hides in the human heart. The difference in framing devices has more to do with the difference in medium and inspiration than it does in overall meaning (Greiff 188) -- and yet the music of The Doors provides a much bleaker context for the narrative that Coppola explores in Apocalypse Now than the stylishly literary and ultimately ironic narrative woven by Conrad. Coppola, in fact, updated the narrative in a number of other ways -- namely in the shift of time and setting from the Congo at the turn of the century to the Mekong River in Vietnam during the Vietnam War. However, if Conrad is writing at one remove from the Age of Faith, writing as he says out of love for Fidelity as an ideal (Najder 204), Coppola is filming at one remove from Conrad, illustrating a world that has regressed even beyond the idea of Fidelity and fully embraced the "horror" that Kurtz sees within himself (Ebert). For Coppola, the conflict in Vietnam was the perfect illustration of this horror, and rather than appeal to a sense of what has been lost and the fear of approaching it (as Conrad does in Heart of Darkness), Coppola rather relishes in it and offers an indictment of what has been attained: a mad empire, a heartless new imperialism, a lunatic fringe. This paper will compare and contrast Coppola's Apocalypse Now with Conrad's Heart of Darkness and show how Coppola's epic may be better understood as a modern-day re-interpretation of Conrad's novella rather than as a modernized adaptation.

Louis K. Greiff observes that Conrad receives no screen credit in Coppola's film. This omission, furthermore, has been viewed by some as "confirmation that Apocalypse Now insults its literary predecessor by repeatedly violating the novel's original shape and substance" (Greiff 188). However, Greiff argues that Coppola is not as slighting to Conrad's vision as critics might suggest. On the contrary, Greiff contests…… [Read More]

Ebert, Roger. "Apocalypse Now (1979)." Chicago Sun-Times. 1999. Web. 5 Oct

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Heart of Darkness Essay

Words: 1351 Length: 4 Pages Document Type: Essay Paper #: 13280356

Heart of Darkness and Apocalypse Now

Heart of Darkness

The film version of Conrad's famous novel Heart of Darkness by Francis Ford Coppola entitled Apocalypse Now has been acclaimed as an important and insightful film. The novel is based on the early colonial invasion of Africa, while the film version deals with the context and the reality of the Vietnam War.

However, the film follows the major themes and underlying meaning of the novel and in fact expands on the novel by bringing these themes into the modern context. Coppola's film is essentially successful in capturing the atmosphere of the book and in portraying the conflict between good and evil in the human heart -- especially with regards to the character of Kurtz.

It should be noted that Coppola saw the film as much more than just another movie about the Vietnam conflict and the horror and confusion of that war. At the Cannes Film Festival in 1979 he stated that Apocalypse Now

… is not a movie; my film is not about Vietnam, it is Vietnam. It portrays what it was really like. It is crazy. It is very much like the way the Americans were in Vietnam. We were in the jungle. There were too many of us. We had access to too much money, too much equipment. And we went insane.

(McDonald, 2002)

In other words, it is a film about human nature and the evil that lies hidden in the human heart -- no matter whether it is in the colonization of Africa or in Vietnam. In this sense the novel by Conrad serves as an artistic platform on which Coppola builds his cinematic creation.

The Heart of Darkness can be interpreted on many different levels. These include the psychological, sociological, ethical and political dimensions. The book is about the…… [Read More]

Works Cited:
APOCALPYSE NOW REDUX. Produced and directed by Francis Ford Coppola,

written by John Milius and Francis Ford Coppola, photography by Vittorio
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Horror the Horror Joseph Conrad's Heart of Essay

Words: 1383 Length: 4 Pages Document Type: Essay Paper #: 82599039

Horror, the Horror:

Joseph Conrad's Heart of Darkness vs. Francis Ford Coppola's Apocalypse Now

I stood on this hillside, I foresaw that in the blinding sunshine of that land I would become acquainted with a flabby, pretending, weak-eyed devil of a rapacious and pitiless folly. How insidious he could be, too, I was only to find out several months later and a thousand miles farther -- Joseph Conrad, Heart of Darkness

The director Francis Ford Coppola's 1979 Vietnam epic entitled Apocalypse Now makes a direct analogy in its symbolism as well as its plot structure with Joseph Conrad's famous 1899 novella about colonialism in the Belgian Congo entitled Heart of Darkness. This is most notable in the character played by Marlon Brando: Colonel Kurtz, who is named after Conrad's Kurtz, an important figure in a fictional ivory trading company in the Congo. Both works present white men that have, for various reasons, gone into the jungle and 'gone native' in the sense that they have lost their belief in civilized morality. Brando's Kurtz has given up his loyalty to U.S. military forces and instead praises the Viet Cong in the small kingdom of fear he has created deep in Cambodia. Mr. Kurtz in the Conrad narrative has taken on a native concubine and keeps the people in thrall with his persona and his ability to use their superstitions against them.

Both works suggest that the jungle is corrupting, but also that whites corrupt the lands they invade. Of course, Apocalypse Now is about the Vietnam War, rather than the type of direct, economic exploitation that occurred in the Belgian Congo when Conrad wrote. In contrast to the novel, where the narrator Marlow is given the task of saving Kurtz, Captain Willard is given the task of assassinating the rogue special agent Kurtz. Marlow becomes fascinated with the corrupt figure of Kurtz while Willard's view of the man is more one of horror, as he watches Kurtz kill one of his men before his eyes. In the film, the U.S. government knows all too well that Kurtz is a rogue agent, although it is revealed ironically that at one point Kurtz was considered one of the 'best and brightest' of his class in the military. In the book, most company members are still utterly oblivious to Kurtz's evil…… [Read More]

Apocalypse Now. Directed by Francis Ford Coppola, 1979.

Conrad, Joseph. Heart of Darkness, 1899. Available:
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Respecting the Rules of War Essay

Words: 1017 Length: 4 Pages Document Type: Essay Paper #: 93839669

While it does not in any way excuse illegal hostile actions against non-combatants, it does illustrate that one of the purposes of having rules for war is, precisely, to avoid some of the consequences that are readily foreseeable when either side violates them.

In many cases, North Vietnamese civilians were directly involved in supporting the war effort. Frequently, combatants disguised themselves by day as civilians and then attacked U.S. forces at night. In other cases, civilians helped lure U.S. soldiers into ambushes and booby traps. While even that does not excuse retaliating against (other) civilians or attacking the entire village in retaliation, it does illustrate that violating the rules of war by one side is likely to provoke hostile responses in kind. That is simply human nature and it is one of the many reasons that both sides in any conflict should always respect the rules of warfare.

Historical Examples of Violations of the Rules of War in Larger Perspective

World War two also featured numerous examples of fundamental violations of the most basic rules of warfare. The Nazis, in particular, had absolutely no respect for civilian populations and frequently murdered entire villages, such as in retaliation for partisan attacks against their forces. Of course, their systematic murder of millions of civilians in occupied territories were the most horrific and extensive crimes against humanity ever committed in human warfare. The Nazis also sometimes executed captured prisoners and also donned captured uniforms to infiltrate Allied front lines. The Japanese were also notorious for brutalizing and murdering captured prisoners of war and for brutalizing and murdering civilian populations, such as in China and the in the Philippines. The infamous Japanese attack on Pearl Harbor in December 1941 was also a fundamental violation of the rules of war because it preceded any formal declaration of war.

While the U.S. never committed wide-scale or systematic violations of the rules of war in Vietnam such as by sanctioning intentional attacks on civilians, it did violate other rules such as by crossing into Laos and by assigning U.S. pilots to fly (illegally) in Laos in aircraft marked with the insignia of the Laotian armed forces. In principle, no violation of the rules of warfare is ever justified. However, in a realistic sense, it is understandable how certain choices to do so for strategic and tactical reasons (although…… [Read More]

Goldfield, D., Abbot, C., Argersinger, J., and Argersinger, P. (2005). Twentieth-Century

America: A Social and Political History. Upper Saddle River, NJ: Pearson-
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Gothic Imagination in Fiction Essay

Words: 1774 Length: 6 Pages Document Type: Essay Paper #: 22792897

Heart of Darkness and Apocalypse Now We do not generally link the dark vision of Joseph Conrad's "Heart of Darkness" to the fripperies of Jane Austen, but we should do so because these writers can be seen as important bookmarks to the era of the modern novel and we cannot understand Conrad's work without understanding its connections to his time. By looking back to a writer like Austen we can seen how much had changed in the world at large and in the world of the novel during the Victorian era and the ways in which authors had begun to lose faith in the power of language to represent, to contain and to describe language.

We cannot understand Conrad's relationship to language without understanding the larger context within which literature was created and consumed. From the coronation of Queen Victoria in 1837 until her death in 1901, was an era of a number of key social changes that would force writers to take clear positions on issues of immediate importance to rest of society. Thus we see very little social criticism in Austen - whose Pride and Prejudice was written 20 years before Victoria ascended the throne - and almost exclusively social comment in Conrad's long short story, published in 1902, the year after Victoria died, as Levine (1991) argues. But even as writers begin to become engaged more and more in the world at large, they become increasingly aware of the fact that language is of limited use in effecting change. For a writer like Austen, the power of language had only to carry a plot (taken more or less from life) and characters (taken more or less from life); for Conrad language had to have to be able to transform the world. It is thus hardly surprising that Austen should find language adequate to her desires and her needs and that Conrad should find it inadequate.

Among the key political and historical developments during Victoria's reign that Conrad addresses in his novella is the consequences of British (and more broadly Western) imperialism and colonialization, both of which were the direct outcomes of the fundamental philosophy of…… [Read More]

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End Times Is a Less Essay

Words: 2575 Length: 8 Pages Document Type: Essay Paper #: 37243683

God created the dispensations and guides humanity differently during each period. C.I Scofield outlines the dispensations including Innocence, Conscience, Human Government, Promise, Law, Church, and Kingdom ("End Times" 4). Dispensationalism is based on a literal and unequivocal interpretation of the Bible ("End Times" 4). Efird, for instance, describes dispenstionalism a historically accurate and nearly scientific method of discerning Biblical prophecy based on a close reading of the sacred text. Efird claims that dispensationalism prevents the "disappointment and embarrassment" that has plagued believers in the apocalypse (7). Dispensationalism is a relatively new type of Christian eschatology and has the unique hallmarks of American Protestantism. The Catholic Church does not embrace a strict interpretation of millennialism. On the contrary, Catholics prefer a more symbolic interpretation of the Book of Revelations ("End Times" 4).

Regardless of the denomination of Christianity, the end times is central to the religion's teachings, its cosmology, its theology, and its worldview. What all the Christian points-of-view share in common is that the Rapture, the Antichrist, and the Millennium are part of the End of Days. The Rapture refers to the resilience of believers during the end times, the "rising up" to heaven while the non-believers are left behind. Christians disagree strongly over what the Rapture actually entails, and when it will take place. For some, the Rapture is a physical "rising up" to heaven, an event reserved for believers in Christ. For others, the Rapture is only symbolic.

The Antichrist is also a central concept in Christian eschatology. Jesus needs a nemesis, and that nemesis is Satan incarnate as an archetypal enemy. The most literal interpretations of the Book of Revelations focus almost exclusively on the battle between Jesus Christ and the Antichrist, to the point where worldly events do not matter. "When the world begins to wind down, we will not be looking for something to happen; we will be looking for someone to come," (Rogers 3). The final battle between Christ and the Antichrist is sometimes called Great Tribulation, especially by dispensationalists ("End Times" 5).

Worldly events do matter to most believers in the end times. Various historical events have triggered interest in the end times, the most recent of which was the September 11 terrorist attacks. According to Gibbs, Book 9 of the Left Behind series was the best-selling novel in 2001 (2). As Hanegraaff notes, September…… [Read More]

Efird, J.M. Left Behind? What the Bible Really Says about the End Times. Macon: Smyth & Helwys 2005.

"End Times." BBC.com. Retrieved 5 Oct 2009 from  http://www.bbc.co.uk/religion/religions/christianity/beliefs/endtimes_1.shtml 
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Classic Movie Essay

Words: 762 Length: 2 Pages Document Type: Essay Paper #: 84735732

classic films, and what makes them classic. Specifically, it will contain a discussion of what makes a film "classic" and use a specific film that I believe is classic, with good quality reasons for the answer.


The term "classic film" often evokes thoughts of an old film, often shown and enjoyed by audiences throughout many decades. The film could be a musical, such as "The Wizard of Oz," or a drama, such as "Apocalypse Now." Both films (and scores of others) have been called classics, and are often shown on network and cable channels. What makes these films classic?

Some might say it is the acting that makes a film a classic. In "The Wizard of Oz," for example, each actor, from Judy Garland as Dorothy, to Margaret Hamilton as the Wicked Witch is perfectly cast, and creates their role with great talent and charm. They set the stage for all actors who tried to recreate the roles, and made them classic and enduring characters. "Enduring" is a word that seems to go hand-in-hand with classic films, for they endure through time, just as "The Wizard of Oz" has done. It is as enjoyable and magical today as when it was first shown in theatres in 1939.

Close in importance to the characters and casting is the writing. Good writing will not always make a classic film, but most classic films do benefit from great scripts. Many critics call

Apocalypse Now" a modern telling of Joseph Conrad's haunting tale "Heart of Darkness." The movie is based on a classic fiction tale, and so becomes a classic in its own right. The screenwriter uses the same disturbing themes as Conrad, and the writing adds depth to the characters and the film itself. "Apocalypse Now" is a stunning film, both mentally and visually. No matter what the viewer's reaction, the movie makes you stop and think. Coppola and the actors bring this story vividly to life - it is not an easy movie to forget. Thus, another commonality in many classic films is…… [Read More]

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Colonial and Post Colonial Literature Essay

Words: 778 Length: 2 Pages Document Type: Essay Paper #: 70658585

Post Colonial Literature

Historical literature is filled with examples of pre- and post-colonialist paradigms. Within each of these models, however, there is a certain part of a larger story that can only be told in the larger view of the historical process. One of the grand themes that help us wade through that process is that of the dehumanization of the individual. For whatever psychotically reasons, humans seem to have the need to change others into less than human in order to subjugate them economically, intellectually, or culturally. We might even think of the process of imperialism as practiced by the European powers as dehumanization of culture and society; begun at the micro level and then evolving into the macro. This dehumanization was particularly exemplified by the manner in which indigenous cultures were decimated, how families were torn apart and scattered all over the Empire, and the manner in which the Colonials expected their values to be adopted by anyone and everyone.

Chinua Achene is one author who deals directly with this subject. Not only is the title of Achebe's Things Fall Apart appropriate for a study looking at the juxtaposition of historical trends on culture, it is spot on in terms of the issues that fall into place, reminiscent of the "Domino Effect" so feared during the early Cold War, when European culture meets a traditional African culture. In Things Fall Apart, dehumanization occurred as almost a disease -- a virus passed from the White man to the natives. Not only did the English regard the Africans as something other than human (they degrade their culture and religion); after some time, Western ideals changed the way the Africans viewed themselves and their tribal unit. In Things Fall Apart, the central character, Okonkwo, finds that the interference of the missionaries and English "entrepreuers" disrputed the tribes. "The white man is very clever. He came quietly and peaceably with his religion. We were amused at his foolishness and allowed him to stay. Now he has won our brothers, and our clan can no longer act like one. He has put a knife on the things that held us together and we have fallen apart" Achebe., Chapter 20).

In Joseph Conrad's Heart of Darkness, written at the end of the 19th century while Britain was the greatest power in the world,…… [Read More]

Hawthorne, N. Young Goodman Brown. Boston, MA: Wildside Press, 2006.

Scott, A. "Apocalypse Now Redux (2001). The New York Times. 2001, Web.

< http://movies.nytimes.com/movie/review? res=9404E6D9143CF930A3575 BC0A9679C8B63&scp=11&sq=apocalypse%20now&st=cse>
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Film Is a Comprehensive Work Essay

Words: 2389 Length: 8 Pages Document Type: Essay Paper #: 9052026

There is a direct correlation with, say, Henry Hill's cocaine abuse and the increasingly rapid cuts between shots. Faster-paced narrative parallels quicker-moving shots. When viewers finally see the film in the theater, the finished product reads like a cohesive narrative when in fact the filmmakers strung together disparate shots and cuts and combined them later after thousands of hours of painstaking labor. Analyzing a movie must therefore include respect for the editorial prowess of the post-production crew.

Editors must be intimately familiar with the screenplay they work with, especially in films that do not have a linear narrative. For instance, Christopher Nolan's 2000 film Memento describes one man's struggle with memory degradation. Relying on a non-linear plot, the filmmaker depended on the post-production crew to adequately convey the disjointedness of amnesia. Other elements like dramatic irony, in which the audience is privy to information that protagonists do not have access to, are crucial in filmmaking. Such literary elements require not just a well-constructed screenplay but also an editing crew that understands the director's vision.

One of the most important aspects of film analysis is political and social context. While many films do not attempt to convey any deeper meaning and only seek to entertain, others offer the viewer a depth of experience. In the same way a great novel reverberates in the public consciousness, so too does a powerful film leave an indelible memory.

Rentschler & Kaes (nd) point out the importance of social and historical background: the "economic and political factors that conditioned" the making of a movie. While this may seem like over-analyzing a film, for some movies such historical context may be crucial. For instance, documentarians like Michael Moore rely on kairos, releasing films at opportune moments to create political awareness and galvanize activism. The rhetorical tools used by Moore and other politically-minded documentarians can be analyzed in their own right. For instance, Moore presents one-sided arguments and yet his films also aim for an emotional more than a cerebral impact. Moore's movies can also be considered as quintessentially American because of the way the arguments are packaged -- with maximum sensationalism. This…… [Read More]

Bellour, R. (2000). The Analysis of Film. Bloomington: Indiana University Press.

Bertolucci, B. (1993). Little Buddha. Feature film.
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Romantic Monster The Human Within Essay

Words: 4437 Length: 15 Pages Document Type: Essay Paper #: 60474246

Yet, we also see that he still does not understand the true origin of the beast -- the human within. The fact that he dies before he is successful, yet the monster obviously goes off to end his own fate, indicates that the evil both originated, and eventually died with him -- the true source from which it sprang.

Victor Hugo's Hunchback: An Illustrative Device

In Victor Hugo's Hunchback of Notre Dame, there exists a strikingly similar theme -- if different in form. Although it is definitely true that Hugo's famous Quasimodo is a bit more innocuous than the Frankenstein monster, he nonetheless evokes a certain horror if only in appearance. Yet, much like in Shelley's work, Hugo brings out the monster that is human nature within the other character's interactions, motivations, and actions in the story.

There is little question that Hugo fully intended Quasimodo to evoke horror in his readers. He creates Quasimodo as a grotesquely deformed, almost non-verbal, and deaf. Interestingly, Hugo assigns the character a friend, if not a creator as in Frankenstein, but as a protector -- one who supposedly has the best interests of the monster at heart. This friend, Dom Claude Frollo, ironically on some levels represents the "best" of humanity as is exemplified by his devotion to the Church and a life of God. However, the reader soon sees the irony, as well as the inherent evil of the human heart not in the monster, but in the supposedly "good" human man. This, the reader sees most clearly in the following passage, perhaps one of the most striking in the novel, when Frollo, a supposed beacon of hope and mercy, passes by Quasimodo being tortured by a terrible mob:

Nevertheless, that cloud cleared away for a moment, at the passage of a mule which traversed the crowd, bearing…… [Read More]

Baldick, Chris.

In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing.
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Full Metal Jacket Certainly in Essay

Words: 767 Length: 2 Pages Document Type: Essay Paper #: 25877469

Meantime my favorite character is James T. "Joker" Davis, who is the main protagonist, and also the narrator. He eventually becomes a reporter for the Army newspaper, Stars and Stripes, and true to Kubrick's style of developing fascinating characters, he's a paradox: he wears a peace sign on his uniform but on his helmet it says "Born to Kill." A colonel sees Davis' peace symbol and the following funny dialogue takes place. The Colonel asks, "Marine, what is that button on your body armor?" "A peace symbol, sir." "Where'd you get it?" "I don't remember sir." "What is that you've got written on your helmet?" "Born to Kill, sir." "You write 'Born to Kill' on your helmet and you wear a peace button. What's that supposed to be, some kind of sick joke?" "No sir." "You'd better get your head and your ass wired together, or I will take a giant shit on you."

The film has some characters in it that are perfect for the stereotypical gung-ho soldier, and one of them is sergeant "Animal Mother," who loves to work his machine gun, kill as often as he can, and be the pushy guy he is. His close friend is an African-American who adds some racial issues into the wild, dangerous mix. Corporal "Eightball" is the Black soldier, and again, Kubrick has allowed this character to escape from the stereotypical image one might expect. I really liked his interaction with Animal Mother, a Black guy and a white guy in a war that is crazy and getting crazier.

Another of the funny moments occurs when Animal Mother asks Joker if he's seen any combat. Joker says yes, he's seen a little on TV. "You're a real comedian," Animal says. Joker says, well that is why they call me the Joker. "Well I've got a joke for you," Animal adds. "I'm gonna tear you a new asshole." Joker comes back at Animal, using a rough version of John Wayne's accent: "Well pilgrim, only after you eat the peanuts out of my shit."

Works… [Read More]

Stanley Kubrick. "Full Metal Jacket" (1987) Starring: Matthew Modine, Adam Baldwin,

Vincent D'Onofrio, and Lee Ermey. Music by Abigail Mead. Produced by Stanley