When he came to restore Apocalypse Now in 4K last year, Coppola decided to take another crack at recutting the movie. This new version is longer than the theatrical cut, but shorter than Redux. With the extended runtimes of Redux and Final Cut , some scenes stand out as filler. Redux , for example, has a few more scenes with Kurtz that detract from the mystique built around him in the theatrical cut.
Coppola cut it down as short as it could possibly be to get it played in as many theaters as possible. The scenes that remain in the theatrical cut are all grade-A material. At minutes, Apocalypse Now is hardly a short movie, but it feels like a brisk walk in the park after sitting through the interminable minute runtime of Redux. Apocalypse Now Redux is a great minute movie that got stretched past the minute mark.
Both Redux and Final Cut have disjointed pacing in some sequences, never really establishing a consistent rhythm. That's why the director of Apocalypse Now himself cut back in , but a little more than he actually thought was optimal.
Coppola also realized that the film wasn't necessarily mainstream and removed scenes for the theatrical version at the time that seemed a bit stranger to a "normal" audience.
But cinema and the audience develop further and with time crazy ideas become normality. That's why Coppola later re-inserted most of the scenes in Redux Cut, as he didn't consider them so strange anymore. Here, however, he exaggerated in according to his own statement in the article by Deadline and showed more than he thinks makes sense today.
Details about the Redux version can be found in our detailed comparison. The film now lasts minutes without credits and is therefore 20 minutes shorter than the Redux version, but also 30 minutes longer than the theatrical version at that time. Coppola himself now calls this version the Final Cut. After the "final" 3rd version of Alexander , Stone added a fourth, "Ultimate" version.
But this is another story and can be read here in the corresponding comparison. In general, it can be said that the new film version tends to be based on the Redux version, as you could already guess from the closer runtime.
Basically, Coppola has taken a middle course here. Some scenes that had been added compared to the theatrical version were completely deleted again, some only shortened. The second encounter with the Playboy Bunnies as well as the scene towards the end, where Willard lies in a container and Kurtz reads Time Magazine, were cut completely.
Even though Coppola himself only deals with the continuity in this part of the film in the interview with Vanity Fair, the suspicion expressed there suggests that the gimmicks with the girls might have been seen somewhat critical in the MeToo age. The scene with the magazine can be attributed even more clearly to the changed zeitgeist, because nowadays Time Magazine simply doesn't have the same influence as it did a few years ago.
Only the long scene block in the French plantation and the dinner scene with conspiracy theories about the plantation were shortened. The stay with the French occupiers has always been a critically discussed extension of the Redux version. At the first announcement of the final cut, many were therefore disappointed that this scene is still included in principle.
In fact, the smaller interventions have now changed the focus: political statements are relegated to the background and the small romance between Willard and Roxanne is thus more in focus.
Not every fan was satisfied with this aspect either, but according to Coppola this serves as a link to the introductory scene. Here Willard destroys his hotel room alone in thoughts of his former wife. At the very end of the film, material contained both in the theatrical version and the Redux version was shortened for the Final Cut.
Willard scrolls less through Kurtz's dossier and is then no longer to be seen at his table. Here one can only speculate about Coppola's intention, at least the avoidance of connection errors would be conceivable. For the same reason a very short part of the entertainment on the boat, which was added in the Redux Cut compared to the theatrical version, is missing in the first third.
It should be noted immediately that not only the Final Cut but also the theatrical version and the Redux version have been restored in 4K.
The UHD premiere comes as a 6-disc set both in Germany and abroad: two 4K Blu-rays and two regular Blu-rays with the three film versions as well as two Blu-rays with all the bonus material. Fortunately, the film Blu-rays are also completely based on the new 4K restorations, which is unfortunately not always the case with Blu-rays included in 4K sets.
Accordingly, a new Blu-ray edition with all three versions will be released and on DVD only the Final Cut is separately available. Carmine Coppola's score is not present in this version. Many more songs by The Doors are played throughout the film instead. None of the narration or dossier voiceovers are in this version. There is no audio dubbing in this version. All the audio is from the sound recorded during the actual filming. Much of Robert Duvall's dialogue is unitelligable due to the sound of the helicopters in his scenes.
A much longer playboy bunnies performance. Various extended scenes on the boat, and alternate takes and shots. A scene where a miniature toy boat passes the Navy PBR. Lance tries to grab it out of the water. The Chief yells at him to leave it alone claiming it's a booby trap.
To prove it the Chief fires some shots at it to which it explodes. When the P. When Lance is reading his letters on the boat, he suddenly stops to machine gun a water buffalo on the shore. The Chief yells at him to stop. The sequence where Clean is killed is omitted. A slightly longer French plantation sequence. After the French woman strips she crawls into the bed with Willard and they begin kissing.
The sequence where the Chief is killed is omitted. More dialogue between Willard and the photojournalist when they first reach the Kurtz compound. The Journalist reveals that it was HE who was able to get the montangnards to break off their attack on the boat in the previous scene. Willard repeatedly asks the Journalists name but he refuses to answer. The character of Colby, the soldier who was sent before Willard to kill Kurtz, played by Scott Glenn has a much more substantial role in this version.
As Willard inspects the compound, Colby tells Willard that the night before, NVA soldiers had attacked which explains all the bodies laying about the compound. Willard then enters Kurtz's house, much to the dismay of the journalist. Willard sees Kurtz empty bed and his medals, also his journal with the inscription "Drop the bomb, exterminate them all" many of these scenes were in the final version but re-inserted in different places. The scene where Willard talks to Chef about the air strike on the boat is omitted.
In this version. The first time Kurtz appears is the scene where a mud caked Willard is tied up seated to a pole in the rain.
Kurtz appears with camouflage face paint, Willard asks Kurtz says nothing to him, but plants Chef's head in his lap. Only a portion of this scene was in the original version.
The scene where Willard meets Kurtz in his bed chamber contains more dialogue A scene where Kurtz talks to Willard in the bamboo cage while two children sit on top of the cage and dangle insects in Willard's face. He tells him that Willard is "like his colleagues in Washington, master liars who want to win the war but don't want to appear as immoral or unethical". A lengthy scene where the montangnards in a ritualistic display pick up the bamboo cage with Willard inside and poke him with sticks Lance and Colby participate in this.
The natives dance around the bamboo cage, chanting and singing while a squealing pig is tied up and killed.
0コメント