The influential and unforgettable masterpiece of Coppola, more than anything, reveals all possible reactions by human beings to the phenomenon of war.

Warfare cinema, always due to the stunning and distinct moments that make it impossible to compare it with many other cinematic subjectives at many times, includes works that also have a lot of common features, fundamental and shocking differences. . So far as we look at the most famous and well-known war movie of great directors, we are faced with a very different cinematic productions, with which we have seen some of the most important effects of the cinema.


For example, Saving Private Ryan directed by Steven Spielberg has a spectacular glorious tale of loyalty that simply goes all the more. It includes a series of sequences that have not had any effect on the incredible intensity of the years. And its ending seems like a sea of ​​bitter and sweet feelings that takes away stereotypical heroes in the cinema and takes a few steps. Throne Malick’s “The Thin Red Line”, despite his storytelling storytelling, as if giving all soldiers a new character, has frames and decouts that have not yet been able to correctly reproduce even their imprinted version. Stanley Kubrick’s Full Metal Jacket, in terms of the broadness of definitions and philosophies, also competes with many of the other works of other genres of cinema, and even more recently the seventh art due to the face of Dunkirk Christopher Nolan , Found the opportunity to confront the war from a more general, non-epithetic aspect in a narrative and comedy narrative.

But apart from all these films and several other respectable, great and lovely works, each one giving a special look to the bitter and deadly events of contemporary history of human life, Francis Ford Coppola made a film before the monotone of these works, which is still a lot of From the bigger technical sights, it’s more shocking in many parts of the story, and in the creation of a fantastic narrative, many of them are more accurate and more accurate. It was in a huge hell that its terrible severity was so great that, after twelve years after the release of the original, El Noor Coppola, George Hicknollapro and Fax Bar, a well-regarded and awesome documentary of the stages of the creation of the film, “The Heart of Darkness: The Apocalypse of a Filmmaker” Hearts of Darkness: A Filmmaker’s Apocalypse.

All the characters in the story, instead of changing for events, reveal different truths in their various events.

It is considered to be the next station of Coppola, depicting a completely terrestrial and low value soldiers as large circus animals that the organizers know is a good way to entertain them. Of course, at such moments of the story, the filmmaker does not have a low-up view of the people mentioned above, and only the severity of the innocence, and perhaps even more clearly, the murderers, can not be overestimated. The next, with the direct encounter of the characters on the main boat, with the look of all the soldiers, is more personal and painful than before on the nerves of the spectator.

The continuation of the story will again strike with a very strange twist, and reminds the audience of the decaying of the lives of humans in the war with the help of creating brutal secrets of killing innocent people by boat members. The audience who has been experiencing several different tones so far and at the same time, because of the filmmaker’s lines of the various sections of the story, does not find a sense of the tune-up story. For example, somewhere in the film, when we see the intimate members of the boat together and the formation of a good chemistry between them, while we can clearly see the black and perhaps the hilarious experiences of moving within the great battlefields in Vietnam, a voice is heard on the image of Villard.

In the form of Nirish, she says their dream is to return home, and I, who returned home in mid-war, know well that there is not such a thing after the war. A visually appealing dialogue makes it easy for the viewer to remember the early moments of watching the wounded and destroyed villad in his home, and personally combining the invincible hope and bitterness of war in his mind.

An illustration of the terrestrial appearance of soldiers in the stature of the vertebrate played is one of the great elements of Apocalypse Now’s fiction.
The harsh struggles, the moments in the home of the peoples who do not want to leave their place and embrace the soldiers, and finally the craziest section of the film, dedicated to the arrival of the group at the local government of Colonel Kurtz, are each of their own, Tune in with new tones. This makes it easy for you to keep track of Apocalypse Now when you are dealing with a storyline with a completely clear and insignificant storyline that is quite understandable to each other.

What allowed the director to include completely different thoughts and concepts in his film, while at the same time, in contrast to what even in the film’s duopoly, the “all-metal sheath”, no part of the film, even for a few seconds, has its narrative coherence Do not destroy A worthwhile event, if rightly so, besides creating invisible lines in the minds of the audience between the different parts of the film, the storytelling of the personality of Coppola in the “Apocalypse Now” has had an undeniable effect.

In other words, Apocalypse Now never seriously separates its characters and always keeps them together as boat members. This also makes it difficult for viewers to follow stories from a variety of perspectives, along with numerous sub-storylines, and follow various stories from the perspective of a staunch person (the whole group), and especially Willard’s personality. Of course, in the meantime, Coppola sometimes uses more limited and shorter methods, such as giving sweet moments and relaxing smiles to the viewer, feeling her feelings about characters, and adding a momentous yet memorable concurrence with a character in certain secrets of the story. But the fact is that his main contributions to keeping the audience open for long, these two are highly appreciated.

Apocalypse Now

In the narrative form “The Apocalypse Now”, there are sequences that the viewer must encounter as lessons from the history of the Vietnam War.
With all the above, as I mentioned earlier, one of the most important issues that should be considered when examining the narrative narrative of “The Apocalypse Now” is how the director arrives at the form in which the viewer believes the moment to the moment of the story And from above it, he values ​​it.

This form of storytelling, which has become irrefutable in every part of the film, has become an integral part of the effort to create it. In the directing and filming of the film, it is as easy as possible to see, based on the losing audience between storytelling Cinematic and narrative narratives find their greatest appearances. Apocalypse Now, using some of its framing at some moments, utilizing the technique of dropping various images onto each other and capturing static and unobtrusive views, and, of course, putting the nursing on a high volume of their pictures, sometimes at a distance from the private with a documentary No war. For example, when, after a few minutes of seeing the normal boat movement on the water and hearing the voice of Villard’s thoughts with help and zooming on files related to Colnerella Kurtz, we suddenly came to ourselves and saw that they were watching action and emotional scenes with elements Different emotions and cinemas, this sudden experience will increase our enjoyment of those seconds, and also realize that in the form of storytelling “The Apocalypse Now,” there are sequences that the viewer must encounter as lessons from the history of the Vietnam War.

Such an admirable and magnificent feature makes it easy for us to entertain us very quickly in our minds in Coppola.



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