Nov. 19, 2025

Apocalypse Now (1979) Francis Ford Coppola - Cinematic Flashback Podcast

Apocalypse Now (1979) Francis Ford Coppola - Cinematic Flashback Podcast
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Apocalypse Now (1979) Francis Ford Coppola - Cinematic Flashback Podcast
Apocalypse Now (1979) Francis Ford Coppola - Cinematic Flashback Podcast
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Season 1

In this episode of the Cinematic Flashback Podcast, we fire up the Wayback Machine and travel deep into Francis Ford Coppola’s hypnotic, hallucinatory war epic Apocalypse Now (1979). Chuck is joined by returning guest Erin Mullinax and her husband Will Mullinax, who recommended the film and brings a lifelong love of Coppola’s masterpiece to the table. 

Together, we break down the movie’s unforgettable opening, its surreal episodic journey upriver, and the contrast between major figures like Kilgore, Chef, Willard, and Kurtz. We explore the film’s impressionistic approach to the Vietnam War, its sound and music—from The Doors to helicopter rotors—its breathtaking visuals, and the themes that make Apocalypse Now one of the most enduring films of the 1970s.

We also discuss the different cuts of the film (Theatrical, Redux, and Final Cut), iconic scenes like Do Lung Bridge and “Ride of the Valkyries,” and why Coppola’s exploration of madness, morality, and the cost of war still lands with such force today. Finally, we answer the big question: Does Apocalypse Now groove through the decades or lose its beat? Guests

  • Erin Mullinax — returning guest
  • Will Mullinax — special guest and film recommender
Keywords for Searchability Apocalypse Now, Francis Ford Coppola, Vietnam War films, Martin Sheen, Marlon Brando, Robert Duvall, Ride of the Valkyries, 1970s cinema, Cinematic Flashback Podcast, movie analysis, film history, war movies, Final Cut, Redux, Heart of Darkness, impressionist filmmaking, Do Lung Bridge, Kilgore, Coppola 1970s, classic movies, podcast film discussion

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WEBVTT

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He's out there operating without any decent restraint, totally beyond

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the pale of any acceptable human conduct, and he is

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still in the field of commanding.

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Troops terminate with extreme prejudice.

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Welcome to the Cinematic Flashback Podcast. Get ready to hop

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into the wayback machine as we journey through the wild, bold,

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and unforgettable films of the nineteen seventies. Each episode, we'll

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break down a classic movie or forgotten Jim by exploring

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the who's who of each film, diving into the premise

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and plot, seeing how it performed then and now, and

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wrapping things up with our final question, did a group through.

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The decades or lose its beak?

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Today we'll be going upriver into the heart of darkness

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with Francis Ford Coppola's Apocalypse.

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Now.

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Matt is taking a little R and R this week,

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but returning is Aaron Mullinix and she is joined by

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her husband Big Duke six I mean Will, who recommended

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today's movie. Aaron and Will. Welcome to the show.

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And thank you for joining me. Hey glad to be here.

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Thank you. Huh night again, Oh Aaron, We had a

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lot of fun talking about Superfly last time we did

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I have to tell you. I don't know what happened

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last month, but that episode started tracking up and it

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is now like the third top downloads that we've had

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for cinematic flashback after two nineteen seventy one films, which

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was Dirty Harry and The French Connection. So Dirty Harry,

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French Connection, Superfly.

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Well, that's because it's the coolest movie of the three.

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It definitely has the coolest soundtrack. Can we agree to

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that one? So will tell me a little bit about yourself.

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What's your relationship with Apocalypse Now? What prompted you to

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recommend it?

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Well, a Apocalypse Now is probably, if not my favorite

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movie of all time, It's definitely one of the all

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time greats in my opinion. If I had to make

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a list of top five movies acrossed any decade or

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just in general, Apocalypse Now would be on the list.

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It's just the first time I saw it, I feel

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that it carried me deeper into I guess the Vietnam conflicts.

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I just don't think that there's a war movie out

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there like Apocalypse Now. I guess that's the best way

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I could put it. It just seems unique to me.

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What is your favorite movie from the nineteen seventies, fritt,

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I mean yeah, I had one favorite to be Apocalypse Now,

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okay for sure, okay, great close second would be God

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The Godfather Again Part one and two.

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What did you think of the Conversation?

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Have you seen that one with Geene had Conversation?

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No?

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I haven't gotten seen that one yet.

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So if you like Francis four Coppola, you cannot go

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wrong with his four films of the seventies, Godfather, Godfather

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Part Two, The Conversation, and Apocalypse.

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Now, before we get too.

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Deep into this conversation, let's go ahead and listen to

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the trailer for Apocalypse Now.

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I'd't been a soldier since I was nineteen, and I

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still haven't learned how to wait for him. I wanted

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a mission for my sins. They gave me one. Nobody'd

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ever gone on a mission like it before, and when

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it is over, I never want another one.

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Your mission is set up the nung River and the

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Navy Patrol will pick up Colonel Kurtsi's path at New Mangba.

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When you find the colonel Infiltrator's team by whatever means available,

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and terminate the colonel's command terminate.

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Terminate is extreme prejudice.

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I ought to say, I'm not supposed to know what

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I'm taking this boat, so I don't.

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But one look at you and I know it's going

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to be hot.

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We'll pick your.

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One up and put it down like a baby, right

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where you want it. This is the person of the

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night Air cavs on.

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Well love Me and Moil of the Isaacs Sun and

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about a mile I'll put all the music scares the

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hell out of the soaps.

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My boys love it. I love the smell of night

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palm in the morning.

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Smell Pike Victory.

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Man, this has been in Disneyland.

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I'm short, and we gotta go up there so you

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can kill one of our own guys.

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He's a commanding officer here joke.

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He was close.

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He was real clubs. I couldn't see him, but I

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could feel him.

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These are all his children, man, As far as you

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can see, they think you've come to Uh to take

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him away, and I hope that is the true.

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Could we uh talk to Colonel Kirks.

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You don't talk to the colonel well when you're listening

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to him?

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Are you an assesssin, I'm a soldier, you're an errand

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boy fine cloth.

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It looks collectabil.

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So let's start with the first time you saw Apocalypse Now.

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Do you remember what your reaction was, and was it,

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I don't know, love it first napalm or did it

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take some time to settle in Aaron Well.

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The first time I saw Apocalypse Now was yesterday. Officially,

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I watched it in parts because it's a very long movie,

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and so I actually started watching it about a week

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ago and I got through about thirty minutes. It was

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right before the famous scene, the flight of the Knockers.

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But just in that thirty minutes, it was hard to

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stop it because I wanted to keep going. It was

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I was hugged, I was invested in it. My impression

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was I don't need to take any drugs because this

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is this is life, kid and acid trip. The thing

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that I really liked was the very beginning of the

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movie where Captain Willard.

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He's in the hotel room and he's, you know, having

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his kind of based out moments. Was that they used

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the song by the Doors the end, and I thought, oh,

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this is the beginning of the movie, but this is

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the song, and that song shows up throughout the movie,

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and I feel like that kind of gives it a theme,

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like it's always the end.

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The end is there in every moment throughout the movie.

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So that was kind of my first impression.

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But I liked it.

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I liked it.

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I'm going to drop in with my first impression because

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yesterday wasn't my first time that I saw it.

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I had to be back in college, so I'm.

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Working at a video store. I have my copy of

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The Godfather. Loving The Godfather, Let's watch Apocalypse now.

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And I didn't like it.

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And the reason I didn't like it was because number one,

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like you said, it was very long, right, Yeah, it

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seems like this was a film that had these little

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little episodes as they travel up the river, and then

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I just I just felt like it was really long,

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and I didn't really understand what the movie was about.

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I don't think I invested because if you get to

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the first thirty minutes or the first forty minutes, you

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get to the helicopter scene, the one that everyone knows

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it has that famous line from Robert Deval I love

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the smell of napalm in the morning.

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I never knew where that came from because I never

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seen the movie. And then I saw it like cool. Now,

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I get it. It's ridiculous.

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It's great when those little quotes that have been around

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forever it comes to you and you're like oh, and

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then you ask yourself, what does napalm smell like? Well,

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it smells like gasoline, because it's essentially what it is,

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you know, smells like victory.

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I want to say one more thing about this first

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impression thing too, because way back when we first talked

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about doing a podcast on this movie and I had

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mentioned it to you, William had come downstairs after watching

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this and he's like, this is the greatest movie ever.

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You have to say. Mean, he was just talking it up,

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and so that kind of maybe bias did a little bit.

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I mean, it's not a movie that I would just

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put on to watch and enjoy just chilling out.

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And even I was holding back because I didn't want

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to bias it too hard. Yes, I didn't do a

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good job. What was your first impressions? Well, I think

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Eric just gave you my first impression.

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Okay, So just so everyone knows, there are like, I think,

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what three three versions of the film.

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The theatrical REDUCS final cut, I believe.

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Yes, yes, those were it and I believe the main

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difference is that the theatrical release was cut down and

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it focused more on pacing then.

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I think in the Reducts he.

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Added more scenes, and in the final cut, which was

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released in twenty nineteen, he pulled out one of the scenes,

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remastered it in four K and the audio into Dolby Adama.

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Which ones did you guys watch yesterday?

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The one we have is the final cut?

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Oh?

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Is that the one I watched?

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William?

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You did?

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That's the one we have?

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Oh?

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Okay, all right, well that's the one. I thought it

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was the original one that I was watching.

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I've never even seen the theatrical copy. Actually interesting, I

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was going to.

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Say, the final cut is the one that I understand

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is Francis Ford Coppola's favorite, or that, yes, the one

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that he wanted to make all the along.

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Yes, I think that one of the scenes cut out

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in the theatrical was the French plantation scene. And if

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you watch the making of Apocalypse Now, which I recommend

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everybody do, it's an excellent film in its own right.

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There's a scene where he is saying, we're never going

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to be able to use it because the light is

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no good or the setting is no good, but with

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technology they were able to go back and then reprocess

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it so that it looks as great as it does.

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And for me on my four K TV with Dolby

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atmosts around, it's an experience. The sound, the video, everything,

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it's just amazing.

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It's so funny about the French plantation scene because William

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told me if I wanted to skip apart, that that

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would be the part to skip, because it's so it.

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Was so long, not because I didn't like it. I

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know it was a great addition, but if you skip

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the implantation scene, that wouldn't be the worst thing to do.

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Yeah, but I didn't. So.

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The thing about Poculist now that sets it apart also

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is that for me it feels like an impressionists vision

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of the war. It's not trying to be an historically

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accurate representation of events. I still think it gives the

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most accurate impression of the war.

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I get that, how would painter paint a picture to

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describe war? And there are a lot of great paintings

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that exist, but how do you evoke an emotion from

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whoever is watching it? And I really think that's what

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Coppola is doing in this film, is he's painting a picture.

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He might not have thought of it in those terms,

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but he's this picture. This is this piece of art

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that he's created. Is meant to provoke a reaction from

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the viewers who have seen it, But that's my first thoughts.

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Yeah, it conveys the reality of the situation, but not

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in an accurate way, Like when you look at an

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impressionist painting, you're not looking at what it actually looked like,

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you're looking at the feeling. I guess it invokes some people.

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I feel like Podcast Now is like, you know, the

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film version of that for the Vietnam War.

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I like what you said William about it transporting you,

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because I think that's definitely what it does as opposed

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to other movies about the war and kind of just

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just telling a story.

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This takes you there.

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You feel it. The time I got to the end

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of the movie, I was like, where am I? It

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like really just transports you. You feel like you're going

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on a It's like an odyssey that's injected with Nate

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palm and acid. Oh man, that's what you feel like,

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like you've just been on an odyssey.

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That is an incredible description, but I do want to

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let people know, and I should have said this at

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the top of the show. We're going to be talking spoilers.

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If you haven't seen Apocalypse now, please go and watch it.

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We'll still finish up the rest of this episode. Actually,

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we're just gonna wait for you to watch it and

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then we'll continue. So just please email us when you're done.

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We'll start.

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I'm just going to get another cup of tea while

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we wait.

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Just care, just just a little bit of time here,

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we'll take a quick intermission here, just enough time to

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grab some popcorn or top off your drink. You're listening

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to the Cinematic Flashback podcast.

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Stay tuned.

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The show continues right after this, and we're back. Hope

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you enjoyed that brief intermission. Now let's roll the next

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reel and get back into the conversation. Who stood out

256
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to you the most.

257
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Definitely a kill Glore. For sure. He's obviously loving the war,

258
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but at the same time, this is things about being

259
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at home, like surfing. If you look at the characters

260
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of say Willard and Kurtz, those guys they cannot function

261
00:12:56.279 --> 00:12:58.600
outside of war. That's not something they can do. But

262
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with kill Gore. You seem like he loves the war.

263
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But I feel like with kil Gore he could function

264
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in this world because he has another passion, which is surfing.

265
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Aaron who stood out.

266
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To you, Well, there's a couple. I mean, obviously kil Gore.

267
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My first impression of him was he's a nut bag.

268
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But I think for me, well, Dennis Hopper's character the

269
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photographer and he had me laughing. And it was funny

270
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because even going back to Kilbowy, if I didn't know

271
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anything about this movie, you know, like when I get

272
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to that scene where we meet Colonel Kilgore, I would

273
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have thought this was some kind of satire, you know, honestly,

274
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the way that he was, you know, between I'm gonna,

275
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you know, help this poor man, give him water from

276
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my candy, oh, surfing, Oh, you know, it's like, you know, oh, squirrel, squirrel, Right.

277
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If I didn't know, that's what I would have thought.

278
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But definitely Dennis Hopper's characters trip right there at the

279
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end and kind of adds, you know, some spice to

280
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a very creepy part of the movie, I think. But

281
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I liked the chef. Actually, I really enjoyed his performance,

282
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and you know, like all the guys on the boat,

283
00:14:01.720 --> 00:14:04.679
they haven't been jaded yet. They don't really maybe know

284
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what they're getting into, and so they kind of learned that.

285
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And I see that a lot with Chef. I like

286
00:14:09.799 --> 00:14:13.120
how his character evolves through the movie, and you know,

287
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he becomes more mature.

288
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By the end.

289
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Was there any scenes that you wanted to talk about?

290
00:14:20.720 --> 00:14:23.240
See One scene that stood out to me when I

291
00:14:23.279 --> 00:14:26.279
first watched it was the puppy boat scene. What bow,

292
00:14:26.720 --> 00:14:31.840
Let's take a look, man, you're a sexty chap get

293
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a sixteen, right, you.

294
00:14:34.360 --> 00:14:35.240
Know, not sixtad.

295
00:14:38.759 --> 00:14:40.000
What's up Jason.

296
00:14:42.120 --> 00:14:45.399
Jog boat Captain, We're gonna take a routine check. Well,

297
00:14:45.480 --> 00:14:47.120
let's forget routine now let him go.

298
00:14:47.759 --> 00:14:49.879
He's about to run his placids down to Captain.

299
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I'm gonna take a look, jee.

300
00:14:53.360 --> 00:14:54.559
My missions got priority here.

301
00:14:54.600 --> 00:14:56.000
Hell, you wouldn't you be in a part of the river.

302
00:14:56.120 --> 00:15:00.240
What would make until we read your destination captain going

303
00:15:00.320 --> 00:15:03.519
for the ride. The Chief wanted to stop the boat,

304
00:15:03.559 --> 00:15:05.600
and Willard was like, this is not part of the mission,

305
00:15:05.720 --> 00:15:07.799
and the Chief is like, it's my boat, and he

306
00:15:07.960 --> 00:15:11.279
orders Chef on to search it more thoroughly. So when

307
00:15:11.320 --> 00:15:13.360
he gets to the container where the puppy is held.

308
00:15:13.679 --> 00:15:16.200
The woman freaks out, runs across. She's a frayed for

309
00:15:16.320 --> 00:15:20.159
the puppy, and Kleen, who's the youngest guy, overreacts and

310
00:15:20.799 --> 00:15:23.279
he opens up and just slaughters everybody on the boat.

311
00:15:23.480 --> 00:15:25.720
And I guess what was the most interesting to me

312
00:15:25.919 --> 00:15:29.679
about that scene was Willard's reaction. Well, the chief he

313
00:15:29.759 --> 00:15:31.559
wanted to take I guess the woman was still alive.

314
00:15:31.600 --> 00:15:34.279
He wanted to go get her medical attention. Basically, Willard's

315
00:15:34.279 --> 00:15:37.159
calling out the hypocrisy of you killed everybody on the boat,

316
00:15:37.240 --> 00:15:38.639
one person survived, and now you want to give the

317
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medical attention. I mean, the only reason she needs medical

318
00:15:40.639 --> 00:15:42.799
attention is because you stopped the boat to begin with.

319
00:15:43.720 --> 00:15:44.519
Bring her on board.

320
00:15:44.879 --> 00:15:45.960
We're taking it to an Arvin.

321
00:15:46.240 --> 00:15:47.639
Look, get what are you talking about.

322
00:15:48.279 --> 00:15:50.080
We're taking it to some friend his captain. She's wounded,

323
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she's not dead.

324
00:15:52.000 --> 00:15:53.960
Yeah, the book says, captain.

325
00:16:04.840 --> 00:16:05.919
I told you not to stop.

326
00:16:06.000 --> 00:16:10.840
No, let's go. So it's kind of like the theme

327
00:16:10.879 --> 00:16:13.399
of the Vietnam War and microcosm. If we weren't there,

328
00:16:13.480 --> 00:16:15.399
these people wouln't have needed all this medical attention to

329
00:16:15.440 --> 00:16:17.639
begin with. So that's why I like the scene is

330
00:16:17.679 --> 00:16:20.600
because it's kind of in your face and it's not

331
00:16:20.679 --> 00:16:22.679
something that you've witnessed before. It's really gonna stick with you.

332
00:16:22.759 --> 00:16:24.399
I think I wanted to just chime in on that

333
00:16:24.440 --> 00:16:28.559
because that I didn't see that scene coming, and I

334
00:16:28.679 --> 00:16:31.200
know that they were stopping them because they wanted to

335
00:16:31.200 --> 00:16:34.159
see if they were transporting weapons. And it's just I guess,

336
00:16:34.200 --> 00:16:37.360
a family and they have their produce and their animals

337
00:16:37.440 --> 00:16:40.000
on board, and they're just doing what they do, living

338
00:16:40.039 --> 00:16:44.320
their lives, and you could see in their faces the fear.

339
00:16:45.080 --> 00:16:47.159
They don't know what's going on. They don't speak English,

340
00:16:47.559 --> 00:16:50.039
and they just see these soldiers with guns. They're you know,

341
00:16:50.120 --> 00:16:52.919
basically boarding their bold and you can see the fear

342
00:16:52.960 --> 00:16:55.840
in their faces and they're so afraid. Oh it's a

343
00:16:55.919 --> 00:16:59.080
saynd for us. The end, there's that theme again, but

344
00:16:59.360 --> 00:17:01.960
that's it was very upsetting because I thought, oh, well,

345
00:17:02.000 --> 00:17:03.879
maybe they're going to find some weapons on there or something,

346
00:17:03.879 --> 00:17:05.240
and then all of a sudden, no, they don't. They

347
00:17:05.279 --> 00:17:07.759
find a puppy, but then they end up killing all

348
00:17:07.799 --> 00:17:11.440
these people because they overreacted. It was very disturbing and sad,

349
00:17:11.799 --> 00:17:15.720
but then I think it I didn't like it, but

350
00:17:15.920 --> 00:17:19.799
what Captain Willard did by just going up and ending

351
00:17:19.880 --> 00:17:22.519
that woman's life instead of them having to take her

352
00:17:22.599 --> 00:17:25.759
for medical attention, just really drove it home. And he's like,

353
00:17:25.799 --> 00:17:28.119
you shouldn't have stopped the boat. I told you not to.

354
00:17:28.599 --> 00:17:31.839
I feel like, yeah, Willard's reaction is the most honest one.

355
00:17:32.000 --> 00:17:36.839
It may not be the most compassionate exactly response to it,

356
00:17:36.920 --> 00:17:41.079
but it's the most honest because think about the logistics

357
00:17:41.119 --> 00:17:43.200
of trying to get this woman in medical attention in

358
00:17:43.279 --> 00:17:47.720
that environment. It just not it's not logical. It's most

359
00:17:47.839 --> 00:17:49.480
likely she's just going to die, and she's going to

360
00:17:49.559 --> 00:17:52.519
die slower. So he has the most logical, I guess

361
00:17:53.599 --> 00:17:55.599
response to it, or most honest for sure.

362
00:17:57.000 --> 00:18:00.480
Let me ask you, guys, thinking about Chef's reaction, Chef,

363
00:18:00.680 --> 00:18:03.799
did you ever think about what was his line after.

364
00:18:03.680 --> 00:18:06.279
The tiger incident? Never get off the boat.

365
00:18:06.119 --> 00:18:07.400
Or something, Never get off the boat.

366
00:18:07.559 --> 00:18:09.359
Yeah, And they forced him to get off the boat,

367
00:18:09.440 --> 00:18:12.160
and he was mad. He was so upset about that.

368
00:18:12.279 --> 00:18:14.480
He's like, this is ridiculous. So you could see it.

369
00:18:14.599 --> 00:18:17.279
He's just throwing produce around. He's like, oh, here's you know,

370
00:18:17.799 --> 00:18:20.880
where's the mangoes or whatever. He was just he didn't

371
00:18:20.880 --> 00:18:23.039
want to be there. He thought it was a silly

372
00:18:23.079 --> 00:18:24.759
thing to do too philly chef.

373
00:18:24.799 --> 00:18:26.599
He's like, he's not meant for the war. I think

374
00:18:26.640 --> 00:18:28.119
that's that's probably the best way to put it. He's

375
00:18:28.160 --> 00:18:31.279
a saucier, right, Yeah, he starts off, I'm a saucier.

376
00:18:31.400 --> 00:18:33.000
What am I doing here? I think if you had

377
00:18:33.000 --> 00:18:36.480
to go one character who is the least meant for war,

378
00:18:36.799 --> 00:18:37.599
it's probably chef.

379
00:18:37.680 --> 00:18:39.839
But I think that that's why he is there. I

380
00:18:39.880 --> 00:18:41.920
think that's why we got so much character, Like we

381
00:18:42.079 --> 00:18:46.480
learn more about Chef than anybody. So he tells that

382
00:18:46.599 --> 00:18:49.240
he's a saucier, wants a saucier. He was trained to

383
00:18:49.240 --> 00:18:51.640
be a chef, and he was going to go into

384
00:18:51.680 --> 00:18:54.160
the Navy to be a chef. But then he saw

385
00:18:54.240 --> 00:18:57.319
how they cooked all of this beautiful meat and they.

386
00:18:57.400 --> 00:18:58.680
Just destroyed it.

387
00:18:58.880 --> 00:18:59.920
He says, I'm not going to do it.

388
00:19:00.079 --> 00:19:01.119
I don't want to do this.

389
00:19:01.640 --> 00:19:01.839
Yeah.

390
00:19:01.880 --> 00:19:03.799
It's such a great character, and we got so much

391
00:19:03.839 --> 00:19:06.160
more depth to him than anyone else.

392
00:19:06.480 --> 00:19:08.759
I was going to say. The thing that stood out too,

393
00:19:08.920 --> 00:19:11.680
is that he kept repeating, I just want to cook.

394
00:19:12.359 --> 00:19:14.880
I just want to cook food. That's what he wants

395
00:19:14.880 --> 00:19:15.000
to do.

396
00:19:15.160 --> 00:19:17.039
Yeah, he kept pretending or he kept saying things like

397
00:19:17.039 --> 00:19:19.440
I'm not here. His whole theme the entire movie is

398
00:19:19.519 --> 00:19:21.359
I'm not meant to be here. I shouldn't have been here,

399
00:19:21.400 --> 00:19:23.480
which I think he conveys that that side of the war,

400
00:19:23.680 --> 00:19:26.759
so many soldiers and marines and everybody that was over

401
00:19:26.799 --> 00:19:28.279
there didn't feel like they should be there.

402
00:19:28.920 --> 00:19:32.359
That's like a really deep thought that many people did

403
00:19:32.440 --> 00:19:34.960
feel that way. I don't want to go. There were

404
00:19:35.000 --> 00:19:37.559
people that dodged the draft, they'll left the country. They

405
00:19:38.160 --> 00:19:39.920
did not want to go. They didn't want to be there.

406
00:19:39.920 --> 00:19:41.799
They didn't feel like we should be there.

407
00:19:42.240 --> 00:19:44.440
Yeah, I mean, you got a whole cross section in

408
00:19:44.559 --> 00:19:46.839
the movie. You have a cross section of all these

409
00:19:46.920 --> 00:19:49.680
types people that couldn't function outside of war, like Willier

410
00:19:49.759 --> 00:19:51.920
than Kurts, and then you had people like Chef who

411
00:19:52.119 --> 00:19:54.240
just were not meant to be there. But that goes

412
00:19:54.279 --> 00:19:57.960
back to the impressionist division. He's just trying to press

413
00:19:58.000 --> 00:19:59.920
upon everybody every aspect of the war.

414
00:20:00.680 --> 00:20:02.759
I have something I want to add to this too.

415
00:20:03.160 --> 00:20:06.240
It was a small moment, but it was very poignant,

416
00:20:06.559 --> 00:20:09.000
and it was towards the end of the movie when

417
00:20:09.440 --> 00:20:12.960
the captain of the boat Chief when they get attacked

418
00:20:13.319 --> 00:20:17.599
and it's not guns, it's the natives, and they're throwing

419
00:20:17.680 --> 00:20:20.720
out spears from the banks of the river. And he

420
00:20:21.400 --> 00:20:25.160
gets killed. He gets speared, and he says it a

421
00:20:26.440 --> 00:20:30.039
spear of all things. There are a lot of things

422
00:20:30.599 --> 00:20:35.200
in that that I unpacked personally, just because of who

423
00:20:35.240 --> 00:20:38.759
he was. And he's in the juckle and he's in

424
00:20:38.880 --> 00:20:43.519
this war and he gets killed by a spear. And

425
00:20:43.640 --> 00:20:45.680
then it was just quick. It was quick and it

426
00:20:45.759 --> 00:20:47.880
was done. But it was a very poignant scene.

427
00:20:48.000 --> 00:20:50.519
I think it's a very absurd way to die in

428
00:20:50.559 --> 00:20:53.559
this war. Of all things, it's a spear.

429
00:20:54.279 --> 00:20:56.880
I want to throw out this idea that we have

430
00:20:57.079 --> 00:21:02.119
two extremes that we see between Kilgore and kurtz Well.

431
00:21:02.160 --> 00:21:04.039
You brought up the movie Platoon, and.

432
00:21:04.079 --> 00:21:07.519
There's a line that Charlie Sheen's character says that he

433
00:21:07.680 --> 00:21:09.640
feels like at the end of the movie he was

434
00:21:09.720 --> 00:21:13.440
born of two fathers. I feel like in this film

435
00:21:13.720 --> 00:21:18.480
there are two fathers that represent one of the themes

436
00:21:18.880 --> 00:21:19.400
of the film.

437
00:21:20.079 --> 00:21:23.359
It has to do with a line that Kurt says.

438
00:21:23.720 --> 00:21:29.759
Horror has a face and you must make a friend

439
00:21:29.839 --> 00:21:37.960
of horror. Horror and moral terror are your friends. If

440
00:21:38.039 --> 00:21:42.359
they are not, then they are enemies to be feared.

441
00:21:42.839 --> 00:21:46.119
You must make a friend of horror. Horror and moral

442
00:21:46.359 --> 00:21:50.000
terror are your friends. That was his philosophy of war.

443
00:21:50.680 --> 00:21:54.480
As long as American soldiers are serving one tour and

444
00:21:54.599 --> 00:21:58.759
we're trying to make this as comfortable and homelike as possible,

445
00:21:59.440 --> 00:22:01.880
we will never defeat this enemy.

446
00:22:02.920 --> 00:22:05.400
Now let's go to the opposite end.

447
00:22:05.920 --> 00:22:09.480
We have kil Gore. Okay, he's always trying to make

448
00:22:10.039 --> 00:22:13.319
the war more like home, even to the point where

449
00:22:13.759 --> 00:22:17.319
they're in a landing zone, mortars are going off all

450
00:22:17.400 --> 00:22:19.759
over the place, and he's ordering his men to go

451
00:22:19.880 --> 00:22:25.279
out and surf. Kil Gore is exactly the kind of

452
00:22:25.640 --> 00:22:28.799
soldier that Kurtz is reacting against.

453
00:22:29.440 --> 00:22:31.599
One line that really stood out that Willard said to

454
00:22:31.720 --> 00:22:33.839
Kurtz is that you know he sees no method in

455
00:22:33.920 --> 00:22:36.759
this bloyer, Like what method is there? Yeah, because Eve

456
00:22:36.839 --> 00:22:39.680
runs into so many different people in his journey up

457
00:22:39.720 --> 00:22:42.880
the river and he's not seeing a method anywhere. There's

458
00:22:43.039 --> 00:22:46.319
just it's just a madness. It's just an apocalypse. Well,

459
00:22:46.359 --> 00:22:48.920
the inspiration for kil Gore, actually, I guess from John

460
00:22:48.960 --> 00:22:50.599
Millius said that he talked to Hi when his Vietnam

461
00:22:50.640 --> 00:22:53.799
veteran friends. And there was a colonel in Vietnam who

462
00:22:53.839 --> 00:22:56.599
would go hunting because again, you know, his passion was hunting,

463
00:22:57.079 --> 00:22:58.599
and so he's in the war and he would take

464
00:22:58.640 --> 00:23:03.359
helicopters out into the Vietnam to go hunting. That was

465
00:23:03.880 --> 00:23:06.759
part of his inspiration for Coolgor Kilgore has multiple inspirations,

466
00:23:06.799 --> 00:23:09.440
but he said that was part of his inspiration. So

467
00:23:09.559 --> 00:23:11.079
it's like kind of reminds me of kil Gore, who's

468
00:23:11.079 --> 00:23:12.599
always talking about surfing. Even though he's the middle of

469
00:23:12.599 --> 00:23:14.160
the war, he still atually still prosecuting the war, but

470
00:23:14.200 --> 00:23:16.440
he's not gonna give up on his hobby, right, Right,

471
00:23:17.039 --> 00:23:18.720
Like I'm bringing some of America here.

472
00:23:19.039 --> 00:23:22.119
I think that's what Kurtz was reacting against. Right, We

473
00:23:22.240 --> 00:23:25.759
don't need to bring America here. What we need to

474
00:23:25.799 --> 00:23:27.799
do is we need to defeat the enemy.

475
00:23:28.599 --> 00:23:31.519
Well, I was thinking that. I think it was in

476
00:23:31.640 --> 00:23:33.759
the beginning, and because again I've only seen it once

477
00:23:33.839 --> 00:23:35.279
and I feel like I need to watch it about

478
00:23:35.279 --> 00:23:38.880
three or four more times. But there's two kinds of

479
00:23:38.960 --> 00:23:42.839
people that were there. There were people who could go

480
00:23:43.000 --> 00:23:46.160
there and do what they have to do and then

481
00:23:46.279 --> 00:23:48.880
come back home and move on with their lives, and

482
00:23:49.000 --> 00:23:53.319
then they're the ones who basically crossed the border into

483
00:23:53.920 --> 00:23:57.640
PTSD insanity and they were never going to be able

484
00:23:57.680 --> 00:24:00.279
to come back. And I got the impression from the

485
00:24:00.359 --> 00:24:02.920
very beginning Captain Willard is one of those people because

486
00:24:03.039 --> 00:24:07.119
he can't function unless he's there. And obviously Kurtz is

487
00:24:07.519 --> 00:24:09.440
also one of those people, but kil Gore is not.

488
00:24:09.799 --> 00:24:11.400
Kill Gore's there. He's going to do what he has

489
00:24:11.440 --> 00:24:13.160
to do, but he's going to go home and he's

490
00:24:13.200 --> 00:24:15.359
going to serve and he's going to be okay. And

491
00:24:15.519 --> 00:24:19.079
so that that was my kind of take on the comparison,

492
00:24:19.240 --> 00:24:23.680
the contrast between kill Gore and Kurtz, and I don't

493
00:24:23.720 --> 00:24:25.559
know what lessons you could take from that.

494
00:24:25.920 --> 00:24:28.839
It's interesting about kill Gore. He he kind of straddles

495
00:24:28.880 --> 00:24:33.519
the line between someone like Chef and someone like Willard.

496
00:24:34.000 --> 00:24:37.160
Chef he doesn't function well in war. Willard can only

497
00:24:37.200 --> 00:24:38.960
function in war. Now, kill Gor's here, and he loves

498
00:24:39.000 --> 00:24:41.240
the smell of an apole, but he also loves searching. Yes,

499
00:24:41.799 --> 00:24:43.880
he loves Buck and he's going to combine them till

500
00:24:43.920 --> 00:24:45.160
the day Palm ruins the waves.

501
00:24:45.640 --> 00:24:49.279
The sound of this film is really unforgettable, whether it's

502
00:24:49.319 --> 00:24:52.759
from the doors to the choppers to the jungle silence.

503
00:24:53.240 --> 00:24:55.559
So let's talk a little bit about the music and

504
00:24:55.640 --> 00:24:59.000
the soundscape and how that shaped the experience of watching

505
00:24:59.000 --> 00:24:59.880
Apocalypse Now.

506
00:25:00.240 --> 00:25:02.160
One of the things that really got me, and it

507
00:25:02.240 --> 00:25:03.880
was just a little thing, one of those little things

508
00:25:04.359 --> 00:25:06.960
on the boat they're going up the river. Mister Klean,

509
00:25:07.400 --> 00:25:11.279
Lauren's fish friend character, he's got his drumsticks out and

510
00:25:11.359 --> 00:25:13.480
he's just banging on stuff and banging on stuff and

511
00:25:13.559 --> 00:25:15.240
banging on stuff, and it's a nice little beat, but

512
00:25:15.279 --> 00:25:18.839
it's kind of annoying, and it's breaking up the silence

513
00:25:18.920 --> 00:25:22.440
of the jungle, and in a way, just that kind

514
00:25:22.480 --> 00:25:24.200
of stressed me out when I was watching it, because

515
00:25:24.240 --> 00:25:26.599
I'm like, maybe they should be quiet because they're an

516
00:25:26.680 --> 00:25:30.160
enemy territory and he's just banging on making some beats.

517
00:25:30.519 --> 00:25:34.519
And it's also i feel like he's creating tension and

518
00:25:34.599 --> 00:25:38.519
anxiety with the crew of the boat through that. I'm

519
00:25:38.519 --> 00:25:40.640
surprised somebody in the movie didn't just sell them shut

520
00:25:40.720 --> 00:25:43.920
up stop that threw the sticks overboard. But that was

521
00:25:44.079 --> 00:25:46.359
just like one of those little things along the way.

522
00:25:46.799 --> 00:25:49.400
It wasn't a famous song or anything, but it was

523
00:25:49.480 --> 00:25:53.920
just the sounds and how they used that to create.

524
00:25:54.599 --> 00:25:57.400
At least for me as a viewer watching the movie,

525
00:25:57.599 --> 00:25:59.279
that's what it created for me. So that was one

526
00:25:59.319 --> 00:25:59.960
of those little things.

527
00:26:00.240 --> 00:26:02.640
Will pause here for just a moment. Think of it

528
00:26:02.720 --> 00:26:06.480
as a real change stick around. There's more cinematic flashback

529
00:26:06.599 --> 00:26:10.720
coming up right after this, and we're back. The lights

530
00:26:10.720 --> 00:26:13.599
are down, the film's rolling, and the final act begins.

531
00:26:13.920 --> 00:26:17.279
Let's jump back into the Cinematic Flashback podcast.

532
00:26:23.039 --> 00:26:26.119
When I was being transported, I feel like the music

533
00:26:26.319 --> 00:26:28.920
was part of the mood. I almost didn't notice it,

534
00:26:28.920 --> 00:26:31.200
which is a huge compliment to the sound of the movie.

535
00:26:31.599 --> 00:26:33.279
I had to choose one scene I guess where the

536
00:26:33.359 --> 00:26:35.759
mood and the music really stood out to me would

537
00:26:35.759 --> 00:26:40.279
be the dough lung Bridge scene where it's like a

538
00:26:40.519 --> 00:26:44.319
carnival of cartage but wasn't Lance he had dropped acid

539
00:26:44.440 --> 00:26:46.680
or something. He's like, I had that last hit of acid?

540
00:26:46.759 --> 00:26:47.480
Had I just dropped it?

541
00:26:47.720 --> 00:26:49.720
It made you feel that was one of those scenes

542
00:26:49.799 --> 00:26:52.160
that made you feel like you were on acid too,

543
00:26:52.440 --> 00:26:57.079
because it kind of was slower, and just the way

544
00:26:57.119 --> 00:26:59.880
that they panned around the scene and the way that

545
00:27:00.119 --> 00:27:04.000
they sounds all kind of you can hear the wires

546
00:27:04.079 --> 00:27:04.759
with the lights.

547
00:27:04.880 --> 00:27:06.880
I think that scene is put in show the ultimate

548
00:27:06.960 --> 00:27:09.960
absurdity of what they're doing is just look at all this.

549
00:27:10.279 --> 00:27:12.880
This is madness, this scaos. And then you got the

550
00:27:12.960 --> 00:27:16.200
scene with Roach. They call him in and she's echo

551
00:27:16.279 --> 00:27:18.279
locating the enemy so he can kill him. And then

552
00:27:18.319 --> 00:27:20.920
he's like barely even showing any emotion. And it's like

553
00:27:21.000 --> 00:27:22.799
these guys are all just put through the ring.

554
00:27:23.519 --> 00:27:24.359
They're not going to make it.

555
00:27:24.440 --> 00:27:32.680
Back about Roach, I think he's a guy who would

556
00:27:32.839 --> 00:27:37.039
fit in well with Kurtsi's team. So he's asleep, he's

557
00:27:37.119 --> 00:27:40.440
not bothered by this. They wake him up, he comes over,

558
00:27:41.039 --> 00:27:44.319
he turns off the Jimmy Hendrix music, he loads his

559
00:27:44.960 --> 00:27:49.039
grenade launcher and he fires it and kills the individual

560
00:27:49.279 --> 00:27:51.519
who they were trying to shoot with so many bullets.

561
00:27:51.559 --> 00:27:54.440
So the other guys are using a machine gun and

562
00:27:54.599 --> 00:27:57.799
they are just throwing bullets after bullets. They're lighting off

563
00:27:57.920 --> 00:28:01.839
flares to try to find this guy, and they're completely ineffective.

564
00:28:02.440 --> 00:28:05.599
And that is the theme of the film, or one

565
00:28:05.640 --> 00:28:07.960
of the themes of the film. Again, we have too

566
00:28:08.079 --> 00:28:10.960
many people, we have too much money that's come over

567
00:28:11.039 --> 00:28:12.960
here to be able to throw away all these bullets

568
00:28:13.160 --> 00:28:15.039
and what we need is we need somebody who can

569
00:28:15.119 --> 00:28:18.000
go up there and kill the enemy. And that's what

570
00:28:18.119 --> 00:28:21.240
I took away from that scene and how everything was

571
00:28:21.279 --> 00:28:21.880
all mad.

572
00:28:28.000 --> 00:28:30.920
One of the things also in just the mood of

573
00:28:31.039 --> 00:28:35.079
the movie is the lighting. And it's funny because I

574
00:28:35.240 --> 00:28:38.519
was watching the movie last night and it didn't dawn

575
00:28:38.559 --> 00:28:41.319
on me, and so William told me about this, and

576
00:28:41.440 --> 00:28:43.640
I wanted to mention it. William, you know more about

577
00:28:43.640 --> 00:28:46.559
it than I. But there was a lot of special

578
00:28:46.680 --> 00:28:51.079
focus on the lighting of the scenes and how that

579
00:28:51.759 --> 00:28:54.319
affected the mood. I guess. Yeah.

580
00:28:54.359 --> 00:28:58.599
He had the cinematographer Tori Starro. He is well known.

581
00:28:58.759 --> 00:29:01.480
Su're using a lighting in and I think that scene

582
00:29:01.519 --> 00:29:04.720
really gets across the circus of carnage atmosphere going on,

583
00:29:04.839 --> 00:29:09.240
and his lighting, his cinematography compliments the mood of the scene.

584
00:29:09.279 --> 00:29:11.960
I mean, the dude is a genius because his style

585
00:29:12.039 --> 00:29:13.880
is also going back to an impressionist or it's more

586
00:29:14.039 --> 00:29:17.920
I guess expressionist, prioritizing emotional response from the audience with

587
00:29:18.039 --> 00:29:20.480
his visuals. But I think that scene in particular just

588
00:29:20.640 --> 00:29:23.839
really conveys the emotion for the guys, like the grunts

589
00:29:23.880 --> 00:29:26.039
on the ground, fighting it. And it also shows the

590
00:29:26.079 --> 00:29:28.039
absurdity I guess up the war, because why are they

591
00:29:28.119 --> 00:29:30.119
keeping the bridge. They keep rebuilding the bridge, and it

592
00:29:30.160 --> 00:29:33.279
keeps getting destroyed, keeps rebuilding, it gets destroyed again, And

593
00:29:33.400 --> 00:29:34.960
just so a general can say the road's open, so

594
00:29:35.039 --> 00:29:37.359
he can get a promotion, and everyone else is suffering

595
00:29:37.400 --> 00:29:38.400
so he can say the roads open.

596
00:29:39.519 --> 00:29:42.319
I would be remiss if I did not mention Carmine

597
00:29:42.400 --> 00:29:43.799
Coppola's score.

598
00:29:43.759 --> 00:29:46.119
Which was fabulous to me.

599
00:29:46.559 --> 00:29:49.240
I love that he works in a musical motif that

600
00:29:49.400 --> 00:29:54.880
is called an ostinado, and any musician will immediately go

601
00:29:55.559 --> 00:30:00.599
to Gustav Holtz the Planet Suite, most particularly a movement

602
00:30:00.759 --> 00:30:08.680
called Mars the Bringer of War, and I thought it

603
00:30:08.799 --> 00:30:12.880
was really cool that this film brings in this connection

604
00:30:13.519 --> 00:30:17.640
to war through music, through the classics.

605
00:30:18.119 --> 00:30:25.240
The soundtrack was brilliant. It's so worth listening to. I

606
00:30:25.279 --> 00:30:27.920
guess the musical motif. It almost sounded like a helicopter

607
00:30:28.160 --> 00:30:29.400
because it's a helicopter war.

608
00:30:29.799 --> 00:30:32.160
At the very beginning, as Willard is laying on his

609
00:30:32.319 --> 00:30:35.559
bed in Saigon, I was just thinking of that, and

610
00:30:35.680 --> 00:30:38.119
he's looking at a ceiling fan, and the ceiling fan

611
00:30:38.279 --> 00:30:38.720
sounds like.

612
00:30:38.880 --> 00:30:39.720
The blades of a HUEI.

613
00:30:39.880 --> 00:30:42.440
Yeah, it's like they tied it to the visuals as well.

614
00:30:42.880 --> 00:30:46.680
Yeah, apparently that was an intentional They filmed the ceiling

615
00:30:46.759 --> 00:30:49.400
fan and then later in editing they were just integrated

616
00:30:49.480 --> 00:30:51.200
with the sound. They didn't set out to do that,

617
00:30:51.319 --> 00:30:53.240
but that's the way some of the great moments of

618
00:30:53.319 --> 00:30:53.880
film happened.

619
00:30:54.160 --> 00:30:56.480
And that scene too, when he was in the hotel

620
00:30:56.559 --> 00:30:59.519
and Saigon, and I think was really cool because you

621
00:30:59.640 --> 00:31:03.839
get Martin Sheen and the thousand yards there that he

622
00:31:04.319 --> 00:31:08.119
has because he's staring up at the ceiling ban, he's

623
00:31:08.279 --> 00:31:09.359
just like dead until he.

624
00:31:09.359 --> 00:31:09.960
Has his mission.

625
00:31:10.200 --> 00:31:10.319
Right.

626
00:31:15.799 --> 00:31:17.920
I think Copola set out to tell a human story

627
00:31:18.200 --> 00:31:22.039
and so that includes, you know, all the contradictions of humanity.

628
00:31:22.319 --> 00:31:23.839
I guess you could go back to kil Whar. Yeah,

629
00:31:23.880 --> 00:31:26.119
he's he's sitting blowing up this village and causing all

630
00:31:26.119 --> 00:31:28.519
these injuries, and then this woman runs up to him

631
00:31:28.519 --> 00:31:30.839
with her baby, and he picks the baby up and

632
00:31:30.880 --> 00:31:32.440
he's like, oh, his baby's got to go to the hospital,

633
00:31:32.480 --> 00:31:33.720
and then gives her back to the mother. You go

634
00:31:33.799 --> 00:31:35.279
with her, and then like he just blows up all

635
00:31:35.319 --> 00:31:38.000
these people, but then he shows this compassion and the

636
00:31:38.000 --> 00:31:41.200
same with and sends them off to the hospital via helicopter.

637
00:31:41.839 --> 00:31:44.119
It's kind of showing I guess, every aspect of humanity

638
00:31:44.200 --> 00:31:46.720
and all its contradictions. I think that Copla set out

639
00:31:46.880 --> 00:31:49.359
to convey that, and I think he, you know, obviously

640
00:31:49.440 --> 00:31:50.279
hit the nail on the head.

641
00:31:50.599 --> 00:31:55.079
Yeah, there's just the duality of human nature and that

642
00:31:55.480 --> 00:31:59.599
we can bring ourselves to commit atrocities, but yet we

643
00:31:59.720 --> 00:32:04.680
still have this compassion in some way, even if it's warped.

644
00:32:05.279 --> 00:32:07.119
I have to watch this probably five more times. But

645
00:32:07.480 --> 00:32:11.240
like Colonel Kurtz, I think somewhere in there he was

646
00:32:11.319 --> 00:32:14.240
good and then he just went off the rails and

647
00:32:14.559 --> 00:32:18.400
created some kind of weird cult in the jungle. That's

648
00:32:18.640 --> 00:32:22.119
that's what I got from that. But then other smaller

649
00:32:22.920 --> 00:32:26.279
things that just stood out throughout the movie. And you know,

650
00:32:26.359 --> 00:32:29.119
the guy what was his name, Roach, He just stood up,

651
00:32:29.519 --> 00:32:32.119
he took care of it, and Willard asked him, do

652
00:32:32.200 --> 00:32:33.319
you know who's in command here?

653
00:32:36.880 --> 00:32:37.119
Yeah?

654
00:32:37.559 --> 00:32:39.920
Do you know who's in command here? And he said, yeah.

655
00:32:40.519 --> 00:32:43.319
It's an interesting parallel there because he's got black power

656
00:32:43.319 --> 00:32:46.559
written on his helmet and a white man's asking him,

657
00:32:46.599 --> 00:32:48.279
do you know who's in charge? And he looks at

658
00:32:48.279 --> 00:32:50.440
the guy and he's like, yeah, I know who's in charge.

659
00:32:51.440 --> 00:32:52.880
It's like obvious who's in charge here?

660
00:32:53.119 --> 00:32:56.480
My reference another movie. One of the things that came

661
00:32:56.559 --> 00:32:58.599
to mind last night when I was watching this one

662
00:32:59.079 --> 00:33:01.880
is when to get to the bridge scene and they're

663
00:33:01.920 --> 00:33:04.319
talking about, yeah, we build it, and then they tear

664
00:33:04.359 --> 00:33:06.880
it down and we build it again. It made me

665
00:33:07.000 --> 00:33:10.319
think the Bridge on the River Kwhy. You know in

666
00:33:10.440 --> 00:33:12.599
that movie they put all that word to build the bridge,

667
00:33:12.720 --> 00:33:15.240
and there was a whole different theme and motive there.

668
00:33:15.319 --> 00:33:17.880
But in the end the bridge is blown up and

669
00:33:18.680 --> 00:33:21.559
I forget the character's name, but he's looking at it

670
00:33:22.000 --> 00:33:26.640
and the one thing he says is madness. And that

671
00:33:27.200 --> 00:33:30.079
those two things came together in my mind last night

672
00:33:30.160 --> 00:33:30.599
watching this.

673
00:33:31.480 --> 00:33:33.799
How would you compare it to, say, Stanley Kubrick's Full

674
00:33:33.839 --> 00:33:34.480
Metal Jacket.

675
00:33:34.680 --> 00:33:36.680
I know that Full Metal Jacket. It's just that one

676
00:33:36.720 --> 00:33:38.640
always got me in the beginning, you know, with the

677
00:33:38.720 --> 00:33:40.759
boot camp part of it.

678
00:33:41.000 --> 00:33:42.880
I mean, I'm a huge fan of Stanley Kubrick as well.

679
00:33:43.039 --> 00:33:46.759
So it's it's similar to Apoculst now in that it's

680
00:33:47.000 --> 00:33:48.920
just giving you an impression. I felt there was a

681
00:33:48.960 --> 00:33:51.720
lot more irony. Yeah, yeah, like like the peace button,

682
00:33:51.759 --> 00:33:53.200
but he had born to kill on his helmet but

683
00:33:53.279 --> 00:33:55.599
a piece button. And the officer walks up to him

684
00:33:55.599 --> 00:33:57.119
and he's like, you better get your head or your

685
00:33:57.200 --> 00:33:59.799
butt wire together. Oh, I will take a giant you

686
00:34:00.079 --> 00:34:02.160
what on you? Have you seen The Deer Hunter by

687
00:34:02.240 --> 00:34:04.440
Michael Camino. Yeah, that's another good one that you could

688
00:34:04.640 --> 00:34:06.559
look at and compare. It's been a while since i've

689
00:34:06.559 --> 00:34:08.400
seen it. That one, that's a rough watch.

690
00:34:08.599 --> 00:34:09.920
I've not seen it, but I've heard.

691
00:34:10.360 --> 00:34:14.159
How do you express and how do you make your

692
00:34:14.239 --> 00:34:19.320
audience feel the anxiety? And it's done brilliantly through a

693
00:34:19.360 --> 00:34:22.159
game of Russian roulette, as each time they put the

694
00:34:22.199 --> 00:34:25.119
gun to the head to characters you care about and

695
00:34:25.199 --> 00:34:27.519
they pull a trigger and he goes click.

696
00:34:27.760 --> 00:34:30.719
I had to close my eyes. I was that stressed

697
00:34:31.039 --> 00:34:33.639
watching this film. It's also a great film for showing

698
00:34:34.039 --> 00:34:36.360
the men what they were like before the war and

699
00:34:36.440 --> 00:34:38.320
then showed what the war did to them. And the

700
00:34:38.440 --> 00:34:41.119
one guy who had the most promise in civilian life,

701
00:34:41.320 --> 00:34:42.719
he was the one that was least meant for the

702
00:34:42.800 --> 00:34:44.559
war and he's probably the one that had the worst

703
00:34:44.599 --> 00:34:45.239
fate at the end.

704
00:34:45.360 --> 00:34:45.559
Yeah.

705
00:34:46.239 --> 00:34:50.639
Another movie that you may not consider is Rambo's First

706
00:34:50.639 --> 00:34:54.199
Blood and the n monologue where they had to call

707
00:34:54.280 --> 00:34:56.360
his old colonel in and the Karl walks up to him.

708
00:34:56.360 --> 00:34:59.840
He's like it's over, Johnny, it's over, and Rambo is like,

709
00:35:00.119 --> 00:35:02.360
nothing is over. You don't just turn it off. It

710
00:35:02.480 --> 00:35:04.639
wasn't my war. You asked me. I didn't ask you,

711
00:35:04.880 --> 00:35:06.679
and I did what I had to do to win,

712
00:35:07.199 --> 00:35:09.280
and somebody wouldn't let us win. So this kind of

713
00:35:09.320 --> 00:35:11.800
goes back to that theme where Kurtz is talking about,

714
00:35:12.039 --> 00:35:14.320
we're not doing what's necessary to win this war, so

715
00:35:14.360 --> 00:35:15.599
if we're going to win it, we should win it

716
00:35:15.679 --> 00:35:17.280
and not do this half in, half out kind of

717
00:35:17.360 --> 00:35:18.880
thing that they were doing. I think kill Gore's a

718
00:35:18.880 --> 00:35:20.519
good representation of that if you think about it. He's

719
00:35:20.559 --> 00:35:23.000
like half foot in, half out, not fully committing to

720
00:35:23.079 --> 00:35:26.360
the war. Where's Kurtz and Willard? I guess will theer's

721
00:35:26.400 --> 00:35:29.639
more of an exploration. He's exploring all sides where he's

722
00:35:29.679 --> 00:35:32.159
like the audience's eyes. One thing that I just realized

723
00:35:32.159 --> 00:35:35.239
that we didn't even really talk about directly. I was

724
00:35:35.239 --> 00:35:37.639
the right of the Valkri scene with the music and

725
00:35:37.719 --> 00:35:39.760
the theme. How could we not talk about that? And

726
00:35:40.480 --> 00:35:42.599
how they're coming in with the helicopters. When you first

727
00:35:42.639 --> 00:35:45.360
see that, it's almost adrenaline inducing, like you're just like, oh,

728
00:35:45.559 --> 00:35:48.039
here it comes. And I was his theme with this.

729
00:35:48.199 --> 00:35:50.400
It's like saying that the Americans always want to put

730
00:35:50.440 --> 00:35:51.760
on a big show. Wherever they go, they put on

731
00:35:51.840 --> 00:35:54.519
a big show. And that's what kill Gore's doing. It's

732
00:35:54.519 --> 00:35:57.480
also have his historical precedents and that see I actually

733
00:35:57.519 --> 00:35:59.599
did things like that that stood out to me too, and.

734
00:35:59.639 --> 00:36:03.000
He said, turn it up loud. It terrifies them or

735
00:36:03.639 --> 00:36:05.599
it scares yeah.

736
00:36:05.880 --> 00:36:08.199
And you can see that because where does it start.

737
00:36:08.239 --> 00:36:08.880
It starts off.

738
00:36:09.119 --> 00:36:10.639
You know, they're coming in low, they're coming out of

739
00:36:10.679 --> 00:36:13.400
the sun right and then we cut to the village

740
00:36:13.840 --> 00:36:16.519
and we don't see the VC encampment on the beach.

741
00:36:16.760 --> 00:36:19.199
What we see as a school and the little children

742
00:36:19.280 --> 00:36:20.400
and they're lining them up and.

743
00:36:20.440 --> 00:36:25.519
They're peaceful village, moving them du It's also part of

744
00:36:25.519 --> 00:36:27.679
the class of the culture because you're seeing the Vimanese culture.

745
00:36:27.679 --> 00:36:29.920
They're just having a peaceful afternoon and then here come

746
00:36:29.960 --> 00:36:34.159
the Americans and then here they come, and we're just

747
00:36:34.199 --> 00:36:35.000
blowing everything up.

748
00:36:35.480 --> 00:36:39.639
It's such an amazing scene and I cannot imagine what

749
00:36:39.800 --> 00:36:42.559
it took to film something like that. But it is

750
00:36:42.760 --> 00:36:47.320
definitely the raw, raw moment of the film, because everything

751
00:36:47.360 --> 00:36:49.960
after that just goes deeper and deeper and deeper until

752
00:36:50.000 --> 00:36:51.079
you're at they do Long Bridge.

753
00:36:52.320 --> 00:36:54.639
Yeah, Kilgary, he just has a very straightforward view of

754
00:36:54.719 --> 00:36:56.960
the war. He's not complex, he's not trying to dive deep.

755
00:36:57.079 --> 00:36:59.400
These people are savages, you know, That's what he says

756
00:36:59.559 --> 00:37:01.599
one scene when the woman throws a grenade in the

757
00:37:01.599 --> 00:37:04.360
helicopter and blows the helicopter up, and he calls them savages.

758
00:37:04.559 --> 00:37:08.000
But then he doesn't see the irony even though he

759
00:37:08.119 --> 00:37:11.280
just blew apart the whole village. Yeah, he's doing the

760
00:37:11.320 --> 00:37:14.360
same thing. It's just such an amazing film. I loved

761
00:37:14.639 --> 00:37:18.239
the sacrifice of the water buffalo at the end. Oh yeah,

762
00:37:19.039 --> 00:37:22.639
that's a tough scene to see. There's two stories that

763
00:37:22.719 --> 00:37:26.000
are going on at the same time, and the scene

764
00:37:26.079 --> 00:37:31.280
starts with Kurtz backlit in the temple doorway in the

765
00:37:31.360 --> 00:37:35.719
water buffalo going down the steps. Meanwhile, Willard is preparing

766
00:37:36.400 --> 00:37:40.679
to kill Kurtz. There's symmetry between the sacrifice of the

767
00:37:40.760 --> 00:37:45.199
buffalo and his attack on Kurtz. When Willard comes out

768
00:37:45.320 --> 00:37:48.559
his face is half in shadow, and all of Kurtz's

769
00:37:48.639 --> 00:37:52.559
followers they kneel and they bow, and I think they're

770
00:37:52.599 --> 00:37:56.960
recognizing what has happened. You're now our god.

771
00:37:57.639 --> 00:38:01.280
Willard walks in between them and he grabbed Lance. As

772
00:38:01.360 --> 00:38:06.199
the PBR is pulling away, you see superimposed Willard's face

773
00:38:06.239 --> 00:38:09.480
still in half shadow, along with the statue of the god.

774
00:38:10.280 --> 00:38:12.960
And then Willard's face comes out of shadow and the

775
00:38:13.039 --> 00:38:13.559
film ends.

776
00:38:14.360 --> 00:38:17.239
I mean, yeah, everything you said is exactly hygree.

777
00:38:19.079 --> 00:38:21.960
And the theatrical cut as it's fading out and see

778
00:38:22.000 --> 00:38:25.480
the helicopters coming back, and people interpreted the ending of

779
00:38:25.559 --> 00:38:28.400
the film was Willard called in the air strike and

780
00:38:28.519 --> 00:38:32.280
that wasn't Coppola's intention at all. When this film was

781
00:38:32.360 --> 00:38:35.760
shown in seventy millimeter, there was neither credits at the

782
00:38:35.800 --> 00:38:37.639
beginning or credits at the end. It just went into

783
00:38:37.679 --> 00:38:38.079
the movie.

784
00:38:38.360 --> 00:38:40.039
Wow, it's kind of cool. I didn't know it.

785
00:38:41.000 --> 00:38:42.559
So are we ready to ask a question?

786
00:38:43.079 --> 00:38:46.559
Does Apocalypse Now roof the decades or did it lose

787
00:38:46.599 --> 00:38:47.039
its beat?

788
00:38:48.519 --> 00:38:52.320
Hopping in the way back machine and pulling back a years.

789
00:38:52.440 --> 00:38:55.079
Dude, William, what did you think? I think it definitely

790
00:38:55.199 --> 00:38:59.280
grooves because to me, It's one of the most timeless

791
00:38:59.440 --> 00:39:02.480
masterpiece that I've ever seen. We could watch it two

792
00:39:02.559 --> 00:39:06.199
hundred years from now and it will still I guess resonate.

793
00:39:06.679 --> 00:39:08.960
I believe that he achieved his goal of telling a

794
00:39:09.000 --> 00:39:12.079
truly human story, and that notes what makes it so timeless. Yes,

795
00:39:12.199 --> 00:39:16.119
I do believe the movie definitely still grooves. It is,

796
00:39:16.679 --> 00:39:19.760
in my opinion, one of the timeless masterpiece, so it's

797
00:39:19.920 --> 00:39:20.840
definitely still grooves.

798
00:39:21.159 --> 00:39:23.519
Aaron Well, I think it grooves. I knew it grew

799
00:39:23.800 --> 00:39:26.360
because William came and told me how amazing it was.

800
00:39:27.119 --> 00:39:29.719
But you, having only seen this for the first time,

801
00:39:30.960 --> 00:39:33.920
I would say, yes, it definitely still grooves because I

802
00:39:34.000 --> 00:39:35.960
want to see it a few more times now because

803
00:39:36.119 --> 00:39:37.719
I feel like it's one of those movies you have

804
00:39:37.800 --> 00:39:39.719
to see it more than once because you're going to

805
00:39:40.480 --> 00:39:43.440
get new things from it, and that to me says

806
00:39:43.480 --> 00:39:45.880
it's a good movie. And I think, like what William said,

807
00:39:45.920 --> 00:39:49.480
it's timeless and it's like an Impressionist painting. I can

808
00:39:49.559 --> 00:39:53.400
look at Impressionist art now and those are still grooving too,

809
00:39:53.599 --> 00:39:57.599
So definitely, if you haven't seen it like me recently,

810
00:39:58.280 --> 00:39:59.679
do put it on your list to watch.

811
00:40:00.239 --> 00:40:03.239
I think Apocalypse now still lands today. I think that

812
00:40:03.400 --> 00:40:06.719
this is a film that the younger generation could come

813
00:40:06.760 --> 00:40:10.360
in and watch and pick up what Coppola was trying

814
00:40:10.440 --> 00:40:14.880
to say, because he made a picture about the Vietnam War,

815
00:40:15.480 --> 00:40:17.559
and I think that the themes and the messages that

816
00:40:17.679 --> 00:40:20.719
it asks the viewers to consider and to deal with,

817
00:40:21.159 --> 00:40:23.719
I just think it really lasts even today, So I

818
00:40:23.760 --> 00:40:26.519
think it's a very relevant movie for someone to go

819
00:40:26.679 --> 00:40:29.320
back and watch again. I think this is why this

820
00:40:29.519 --> 00:40:32.159
is Copola's magnum opus, and I think that's why for

821
00:40:32.280 --> 00:40:35.440
me it still grooves today. So Will and Aaron, thank

822
00:40:35.480 --> 00:40:38.400
you guys both for coming on today and talking about

823
00:40:38.440 --> 00:40:39.559
Apocalypse Now with me.

824
00:40:39.800 --> 00:40:41.840
Well, thanks for having me on. It's been a lot

825
00:40:41.840 --> 00:40:42.320
of fun.

826
00:40:42.400 --> 00:40:46.519
Awesome, and thank you listeners for joining us today. Did

827
00:40:46.559 --> 00:40:49.119
you see Apocalypse Now? We'd love to hear what you

828
00:40:49.239 --> 00:40:52.199
think and which version you prefer. You can reach us

829
00:40:52.440 --> 00:40:55.840
at our website, Cinematicflashback dot com, and while you're there,

830
00:40:56.239 --> 00:40:59.000
be sure to check out our previous episodes, dig into

831
00:40:59.039 --> 00:41:01.480
our blog articles, and hit that subscribe button so you

832
00:41:01.679 --> 00:41:04.800
never miss an episode. And hey, if you're enjoying the show,

833
00:41:04.920 --> 00:41:07.760
we truly appreciate you sharing it with your friends, but

834
00:41:07.880 --> 00:41:10.159
join us next time as we fire up the Wayback

835
00:41:10.280 --> 00:41:13.280
Machine and head back to the nineteen seventies to explore

836
00:41:13.320 --> 00:41:17.679
another unforgettable film from that air and remember, never get

837
00:41:17.760 --> 00:41:18.320
out of the boat.

838
00:41:21.440 --> 00:41:25.599
Certain chat, sirs, The only thing that hold this cuts in, Sirs,

839
00:41:25.679 --> 00:41:26.400
that motlan.

840
00:41:27.280 --> 00:41:30.840
What do you have to say? Goody PC.

841
00:41:31.599 --> 00:41:36.360
If you want water, you get three paddy watta get

842
00:41:36.519 --> 00:41:36.760
out of.

843
00:41:36.760 --> 00:41:40.760
Here, give me that, give me that? Can't you don't

844
00:41:40.800 --> 00:41:44.559
riv it up? Yes it.

845
00:41:47.159 --> 00:41:47.239
Up?

846
00:41:47.800 --> 00:41:51.480
Why would you pick my cat teat any day? Colonel?

847
00:41:51.519 --> 00:41:54.159
I think one of those sellers, Lance Johnson The Surfer

848
00:41:54.960 --> 00:41:57.360
where John every

849
00:41:57.480 --> 00:42:03.199
Twist maadic flashback and the show begin