Apocalypse Now: a critical review

Apocalypse Now Review/Analysis

Cinematography in Apocalypse Now

Apocalypse Now is the 1979 film by Francis Ford Coppola that follows Captain Benjamin L. Willard as he descends into madness to put an end to renegade Colonel Walter E. Kurtz's unauthorized military exploits. The film is loosely based on Joseph Conrad's Heart of Darkness which has a similar theme and plot; however, Conrad's novella, published in 1902, is set in Africa and is a commentary on British imperialism and colonization ("Heart of Darkness"). The cinematography of Apocalypse Now helps to highlight the realistic nature of war and helps to provide a perspective that would not be seen unless an individual was actively involved in combat.

In the film, Cpt. Willard is sent on a mission to assassinate Col. Kurtz whose renegade actions have come to pose a threat to the United States' mission in Vietnam during the Vietnam War. As Cpt. Willard travels from the beaches of Vietnam deeper into the jungles of Vietnam and Cambodia there are several instances that highlight the devolution that Willard witnesses and experiences. While violence is a major component of the Apocalypse Now, there is a transformation between the militant formality of war at the beginning of the film and the guerilla attack that Willard carries out against Kurtz.

At the beginning of the film, Willard meets with Lieutenant Colonel Bill Kilgore who is preparing to carry out an airstrike on a coastal village on the Nung River. The airstrike is an organized attack, which is made even more dramatic through the use of music, in this case Richard Wagner's Ride of the Valkyries. The music in this sequence helps to establish that the attack has been planned out and that even the minutest detail -- in this case, the music itself -- has been skillfully chosen for its ability to incite fear in villagers. The scenes in which the helicopters are depicted flying through the air focuses on their strategic alignment and not necessarily on the people that they are carrying. By focusing on the formation of the helicopters, and through the usage of wide shots that utilize high angles and tracking, the cinematography helps to establish a sense of realism in the film and makes it seem as though the audience is flying alongside, or above, the soldiers in the film. What is more, when the soldiers are attacking the village, the point-of-view shot -- as seen from the helicopter pilot's perspective -- makes it appear as though the camera was actually filming the helicopter's approach and attack on the village. As the soldier bomb the beach, wide angle lens shots that are taken from a high angle help to capture the extent of the bombing. By opting to show the events from a distance through a wide angle lens, the audience is able to see that the bombing of the beach was not localized, but rather was intended to take out large portions of land. Moreover, this type of shot allows for an entire violent series of events to be seen at a single time. 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 -- the camera tracks the jets, following them as they approach the beach and drop their bombs.

There is also great use of skewed shots during this sequence however, their use may be incidental. Because the cameras that are being used to showcase the soldiers in the helicopters, and to follow the helicopters in motion, are not stationary, the skewed aspects of the shots help to emphasize the action and movements of a helicopter. The skewed shots also help to make the viewer feel as though they were in the helicopters. The dizzying turns and angles in the scenes are captured realistically and help to highlight the chaos of war.

In addition to the various angles and types of shots that are used during this initial invasion, the color scheme of the film helps to establish a sense of realism. The cinematography does not set out to capture the events that occur through documentary style camera work, but rather intends to portray the events as though they were being seen in person. The colors in the film are intended to remain natural and neutral and be reflective of the environment in which the action takes place. There is an abundance of dark, jungle green in the film which only gets darker as Willard makes his way deeper into the jungle. The brightness of the day in this initial sequence also establishes it as an event that takes place towards the beginning of the film. As the film progressively gets darker in symbolism, action, imagery, and plot as Willard makes his way towards Kurtz, so does the cinematography and editing of the film.