¶ … 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 face in the little light streaked dark from the downpour such as some old world thespian.
Could I ask you something? He said
Yes.
Are we going to be dead?
At some point. Not at the present time. Go to rest.
Okay.
And later in the darkness....
Close up shots are also used in this sequence to depict the soldiers that are flying in the helicopters during the attack. By using close up shots, the camera implies that the soldiers are being seen from the point-of-view of someone that would be flying alongside the men. Additionally, when the beach is being bombed by jets -- during which Lt. Col. Kilgore gives his infamous napalm speech --
Willard's internal trauma is representative of the shock many Americans must have felt at seeing the violence inflicted in their name, and thus his killing of Kurtz represents a kind of superficial destruction of the "bad seed" that supposedly tainted the otherwise respectable and honorable American military. By focusing on the "primitive" evil embodied by Kurtz, the film allows the more "subtle and civilized manifestations of evil" in the form
And why not?" This novella is, above all, an exploration of hypocrisy, ambiguity, and moral confusion. It explodes the idea of the proverbial choice between the lesser of two evils. As the idealistic Marlow is forced to align himself with either the hypocritical and malicious colonial bureaucracy or the openly malevolent, rule-defying Kurtz, it becomes increasingly clear that to try to judge either alternative is an act of folly: how
Breaking on through to the Other Side and Passing Judgment in Heart of Darkness and Apocalypse Now Redux: A River Journey to Hell and Back The river journeys in Conrad’s Heart of Darkness and Copolla’s Apocalypse Now Redux are journeys into Hell—journeys that provide revelations on the horror of the modern world. Marlowe and Willard represent two different takeaways from these journeys, however. Marlowe’s journey is up the Congo; Willard’s is
Okonkwo's journey is one of self-imposed exile. So, too, is the journey of the Kurtz character in Conrad's Heart of Darkness and Coppola's Apocalypse Now. Thus, Kurtz takes the place of the protagonist as being the symbolic character catalyst in Heart of Darkness and Things Fall Apart. The Kurtz character is more similar to the Okonkwo character than either Marlow or Willard. For this reason, Kurtz can be considered a
Euro v Afro Centric Perspectives The unfolding of events can be told from a variety of perspectives that are highly influenced by an individual's background and personal prejudices. Heart of Darkness by Joseph Conrad and Things Fall Apart by Chinua Achebe provide two distinct and polar perspectives. Heart of Darkness, and consequently the film adaptation Apocalypse Now, directed by Francis Ford Coppola, provides an Anglo-centric perspective on colonialism and imperialism, whereas
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