At that moment someone mentioned The End, The Doors’s. He reached one of the bins and pulled out this long, abstract overview on an explosion in the forest, the largest that had ever been filmed before that day. Who was there that day remembers a restless, drunk Coppola lurking around the bins of discarded film, mumbling: “I need an initial scene”. Nevertheless, the opening scene of Apocalypse now was born by chance, as the result of improvisation in a moment of tribulation during editing phase. In the end convincing him was a nice achievement: he was awarded with his first Oscar. “Apocalypse Now is not a war movie”, as Coppola said to Vittorio Storaro, skeptical about his contribution in a film about Vietnam. The darkness of Coppola is in the dull faces, in the awareness of no longer belonging to any world, in the abandonment of the individual to himself, in a context in which individual action is the most meaningless ever. The descent into the Heart of Darkness by Francis Ford Coppola does not happen through the harrowing screams of war wounds or the alienating sensations of human beings when they reach the most extreme conditions possible. A beginning realized with an aesthetic vision that anticipates the way war, horror, is depicted in the film. This is the beginning of Apocalypse Now, one of the most fascinating representations of the war in the history of cinema.
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