🎦 Apocalypse Now full movie HD download (Francis Ford Coppola) - Drama, Action, History, War. 🎬
Apocalypse Now
Drama, Action, History, War
IMDB rating:
Francis Ford Coppola
Marlon Brando as Kurtz
Martin Sheen as Marlow
Robert Duvall as Lieutenant Colonel Bill Kilgore
Frederic Forrest as Jay 'Chef' Hicks
Sam Bottoms as Lance B. Johnson
Laurence Fishburne as Tyrone 'Clean' Miller
Albert Hall as Chief Phillips
Harrison Ford as Colonel Lucas
Dennis Hopper as Photojournalist
G.D. Spradlin as General Corman
Jerry Ziesmer as Jerry, Civilian
Scott Glenn as Lieutenant Richard M. Colby
Bo Byers as MP Sergeant #1
James Keane as Kilgore's Gunner
Storyline: It is the height of the war in Vietnam, and U.S. Army Captain Willard is sent by Colonel Lucas and a General to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, Walter Kurtz, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes Kurtz has gone completely insane and Willard's job is to eliminate him! Willard, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-Colonel Kilgore, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Willard, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will...
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Such a great adaptation of Heart of Darkness
It carries the tone of voice that narrates the book into the jungle of Vietnam and into the wild-eyed look of Martin Sheen and Dennis Hopper and the mystical morbidity surrounding Colonel Kurtz.(I don't say Marlon Brando because after watching the documentary, "Hearts of Darkness," I am skeptical as to how much credit Brando is due for that quality). The tone of voice I'm talking about is brooding and dramatic without being overbearing: "Everybody gets what he wants. I wanted a mission, and for my sins they gave me one. They sent it up with room service." It is indulgent without being narrow and alienating. A good example of is Hopper's indulgence into aphoristic madness, generously installing lines written by T.S. Eliot and Rudyard Kipling into his stony monologues: "I mean, the man's a genius—sometimes he'll walk right by you without even saying a word, and sometimes he'll grab you by the collar and say "did you know that 'if' is the middle word in 'life'…if you can hold your head while all around you they are losing theirs" and then "I mean he's a wise man, he's a great man; I should have been a pair of ragged claws scuttling across the floors of silent seas" (The first one's Kipling, the second one's Eliot.
The 30 Greatest Films Ever Made, Continued
(part of 30 essays I am writing on the 30 greatest films of all time. They are written in no order) I'm not sure if there could possibly be a more fitting title for this film than "Apocalypse Now." The famous opening scene shows a line of trees for about a minute as we hear helicopters chop-chopping in and out of the frame. We begin to hear the first notes to The Doors' "The End" and as the first words are spoken the entire forest is hit by napalm and bursts into flame silently. Then it fades on one half of the screen to a shot of Martin Sheen's face, and the helicopters are really the ceiling fan? "And all the children, are insane! All the children..."

The first lines spoken in the film is Sheen narrating "Saigon. (expleteive). I'm still only in Saigon." He continues to narrate his life story. How he fought in Vietnam, went home. Couldn't stand being away from the jungle. Only word he said to his wife was yes to a divorce. And now he was back here. Still only in Saigon. "Every minute I stay in this room, I get weaker, and every minute Charlie squats in the bush, he gets stronger. Each time I looked around, the walls moved in a little tighter." Sheen, drunk, tears apart his room and cuts himself punching a mirror. Having fun yet? The next morning he is in luck - HQ gives him a top secret mission up the river into Cambodia, to kill a Green Beret colonel who has lost his mind and commands his soldiers to commit atrocities while they worship him as a king. Willard narrates: "I was going to the worst place in the world and I didn't even know it yet. Weeks away and hundreds of miles up a river that snaked through the war like a main circuit cable - plugged straight into Kurtz. It was no accident that I got to be the caretaker of Colonel Walter E. Kurtz's memory - any more than being back in Saigon was an accident. There is no way to tell his story without telling my own. And if his story really is a confession, then so is mine." Shoot, who wrote the narration? Because those are pretty classic lines. Make a good Sig but it has to be under a hundred characters. Here's something probably under a 100: "charging a man with murder in this place was like handing out speeding tickets in the Indy 500." He is sent up with Chef (Fredrick Forrest), Mr. Clean (a 14 year old Larry Fishburne), Lance (Sam Bottoms) and Chief (Albert Hall), who are all (except Chief) young and inexperienced soldiers. In the films most famous scene, they are chauffeured to the mouth of their river by Robert Duvall and his air Calvary, who bomb a Vietnamese village to clear the area for surfing. The famous detail is that the helicopters are blasting Wagners "Ride of the Valkeries" as they attack the village.

From there the film descends, one scene after another, into a world of chaotic insanity and madness. One of the most memorable scenes is when they pass the last American outpost on the river. Soldiers carrying suitcases swim into the river desperately, crying out "take me home!" When Willard goes onto the crazily lit bridge (we only see his face every time a flare goes up) he asks a soldier who the commanding officer is. The soldier looks horrified and replies "Aint you?" Finally, the film reaches the end of the river. Only a couple of the men are left. Men hang from the trees and skulls decorate the sides of the river. Heads and severed limbs and graffiti (one which says "Apocalypse Now") cover the ancient temple. The beret, Kurtz (played by Marlon Brando) recites poetry and Willard is disturbed to discover the many parallels between him and Kurtz. Kurtz's biggest admirer is "The Photojournalist" played by Dennis Hopper, who says things like "You don't talk to the Colonel. You listen to him...he's a poet-warrior in the classic sense." This is a stunning film to watch, and what is more stunning I can see this again and again and again and never get bored of it.

Original or Redux? There isn't much difference between the two versions. You might want to see Redux for an interesting new way to look at the film (the scenes have been rearranged into a different order) but I would see the original first, which stays closer to the novel on which the film is based, Conrad's Heart of Darkness.

"Arresting a man for murder in this place was like handing out speeding tickets at the Indy 500"...good line.
Captain Willard
I have always loved the ironic symbolism and brilliant cinematography of Coppola's masterpiece. I was lucky enough to meet Martin Sheen outside the Santa Monica Civic Auditorium one night in 1981, as he waited for Charlie and Emilio to leave a concert. He was very humble about the praise I shared with him for this work of art, especially his portrayal of the young Captain. This is, without a doubt, a must see, a complete 10 and an important part of American Film History. "Charlie Don't Surf". Robert Duvall's famous line (the other one) does not need repeating as it has become an oft repeated anthem and his Pattonesque character will long be remembered as a classic American war hawk in the John Wayne tradition. It is a surprise to see how young Laurence Fishburne looks.
Snooze feast
Francis Ford Coppolla, Harrison Ford, Marlon Brando

and any one else worth mentioning,

cuz I don't really remember anyone, well its easy after 3 hours of FREAKING NOTHING.........

"The horror" "The horror" "The horror"

This teaches me a lesson, all that glitters is not gold. Believe me I tried to like it (just the another guy who commented), I thought that maybe there was something that I missed, I tried it again, but couldn't go all the way cuz suddenly it stuck me............

"The horror" "The horror" "The horror"

I stood up then walked a bit, sat down for a while, called a friend of mine, then watched this movie a little bit more,

"The horror" "The horror" "The horror"

I suddenly remembered Seinfeld's one episode where Mr. J.Peterman goes to Burma and becomes crazy and then I understood why he said "The horror" "The horror" "The horror"

did this review make any sense, well exactly like the movie it didn't..... Can Francis guess what's up my mind, hell no. Same here buddy..... Greatest film ever made my ass...... The only thing this movie is good for is PUNISHMENT............................

One final time with feelings

"The horror" "The horror" "The horror"
The Dark Side of Man
Francis Ford Coppola's "Apocalypse Now" is not a Vietnam War film. Do not confuse it with one. It is set to the back drop of the war, but it is a metaphorical exposition on the deteriorating effects that war has on the human psyche. It is also one of the most audacious films ever made, produced, or even conceived (second to the Lord of the Rings trilogy. To call it a masterpiece would be an understatement of proportions as ambitious as the film's production levels.

Opening with no credits and following a memorable first scene playing to the tune of the Doors "The End" as Martin Sheen's Captain Benjamin L. Willard hallucinates to images of helicopters and napalm, the plot is essentially laid out in the first 15 minutes. Willard's mission is to "terminate... with extreme prejudice" Colonel Kurtz (Marlon Brando) who has invariably gone AWOL in the far reaches of the Cambodian jungle and, as told by his general, is "out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops." Kurtz is a delusional Colonel now being worshipped by a large group of followers who have dubbed him a god. For Willard, this covert operation seems somewhat more manageable than actual combat, yet, the journey he is about to take will be a personal quest that will challenge the limits of his human behavior.

Teaming up with a small crew, they embark down the vast reaches of the river in a rickety boat. Along the way, Willard educates himself on all things Kurtz. During Sheen's raspy voice over, he details his thoughts on the abundance of material he reads. Kurtz was a highly decorated and respected Green Beret. He was a normal man with a family, until a part of him succumbed to the horrors of human brutality and he led himself down the path that Willard is being led. The descent into the jungle is marked by a mesmerizing aura that echoes the battles being fought not to far away. Eventually the power of the experience weights on the group as drugs and a sort of solitary confinement attacks their senses. But Willard seems unfazed and desensitized in his quest to find Kurtz. As he reads about this mythic figure, he is drawn to the man's power and why he has become what he has become. We know that Willard's slow decay will parallel that of Kurtz's.

Marlon Brando has been revered for decades. His presence: unmatchable. His genius: undeniable. But for those unacquainted with his acting prowess and unaccustomed to his physical nuance, Brando can be perceived, in the eyes of an uncompromising film-goer, as a hack. He is most certainly not. Brando was difficult to work with, hard to interpret and impossible to understand, but his talent for unintelligible rants and unparalleled monologues is irrefutable. The man obviously knew what he was doing even if we didn't. His Colonel Kurtz is a being of limitless delusions and continual profundity.

If the film is any indication of the journeys into hell than Francis Ford Coppola's actual experience with making this masterpiece is a true life account of one man's fanatical struggle to produce a movie. It is reported that during the film's 200 plus day principle photography schedule, Coppola contemplated suicide. The film was not only an undeniable struggle to make; it is a grueling film to watch. Coppola's sweat and blood seep through the pores of the steamy locals and his dedication filters through the orifices of Martin Sheen's haunted soldier Willard.

I can not help but feel a warm sense of nostalgia for this type of film. At the dawn of all that was original and unprecedented, films that challenged as well as stimulated were commonplace. Audacity aside, Apocalypse Now is pure film-making. My respect and admiration for Mr. Coppola is of the highest order. But I shudder at the return to what has become the norm for today's standards for film: a lack of innovation. It is not simply the unoriginality of the world of cinema today; it is the fact that nobody seems to care to tell a story anymore or to tell one with heart. But we still have the great ones like Coppola's masterpiece, a film which bathed in its ability to give us something deeper than that which we could comprehend.

That depth in Apocalypse Now is the step into madness. The killing can disturb. The loss of innocence can unhinge. But it is the damage from within; the countless barrages of images that distress, unnerve and detach us from our everyday world and the memories that plague our deepest thoughts that eventually segregates us from humanity and propels us into the realm of the instinctual, the savage and the animalistic. If the thought of killing does not provide sustenance, the act of killing provides man with its fundamental catharsis.
One of the Best Films In the History of Cinema
It is difficult for me to write a comment for "Apocalypse Now". The numerous reviews that have been made by prestigious critics and experts about this monumental film since its release, make my comments seem a bit redundant. Nevertheless, I strongly feel obliged to submit some thoughts about this fantastic movie.

First of all, I subscribe to the view expressed by many, that "Apocalypse Now" is one of the best films in the history of cinema. It combines many things: Drama, action, emotions, art, mysticism, scenery, philosophy, are some elements that come in mind when one talks about "AN". In fact, there are so many angles that this film can been seen through, that it is nearly impossible to categorize it: Is it a war film? Is it a philosophical one? Is it an art movie? "AN" partially fits in lots of categories, and doesn't fully fit in any one of them at the same time...

Under the masterful direction of Coppola, "AN" recounts the story of Capt. Willard (Sheen), who while serving in Vietnam, is ordered to carry out a rather unconventional mission: He must find and "terminate" Col. Kurz (Brando), an erstwhile brilliant officer, who has now gone insane; Kurz has gathered a private "army" by locals who worship him like a god, and he has disappeared with them somewhere in Cambodia. Willard begins his journey with a handful of accompanying sailors, and during their voyage they encounter several surreal situations. Moreover, Willard, who is in the border of insanity himself, studies the file of Kurz and starts to deeply admire the man. What will happen when he finally meets him?

I wouldn't need here to say anything about the breath-taking performances of Martin Sheen and Marlon Brando, as they are the point of reference for many drama classes. I would only like to add that ALL the performances in "AN", are worthy of the film's status.

There many things to be said about "AN", and as I explained in the beginning, if someone wants to explore further, there are several sources to look at. The only thing I would like to add here before concluding is that this is a film which will never lose its beauty, no matter how many years pass. 10/10.
An unfocused trip
It took me a bit to nail down the reason for my less-than-fawning reaction to "Apocalypse Now" - after all, this movie's so damn revered - but, surprisingly, it's Martin Sheen's voyage up-river (which is really the bulk of the movie). I'm surprised as anyone, seeing as I generally dig his stuff. But his journey into Cambodia just tends to meander through the film. Sure, there are firefights mixed in, but none of this is ever as exciting or mysterious as the film's two most winning features: Robert Duvall and Marlon Brando. And they're only present for such a short time. Duvall is just such a larger than life sociopath; it doesn't hurt that he's at the forefront of the movie's wildest set piece, but he owns the screen. I'm fairly certain the man's ruined "Ride of the Valkyries" for me (hijacked, not soured). And Brando looms so large over the entire movie that, you're left wondering what kind of answers are coming when Sheen finally tracks him down. And it's a hallucinatory payoff, to be sure.

Philosophical, yet captivating!
Well, I guess everyone who has once seen this move could not have denied its status of a masterpiece. I couldn't as well. Initially, the viewer is served with the captivating, overwhelming song "The End" by The Doors, which I am listening to right now. The song very much describes the imminence of the events about to ensue. The greatest amount of the movie's grandiosity lies in multiple separate, self-contained scenes. One of those is the air strike undertaken by Americans while the Wagner's "Flight of the Valkyries" is on and there is a splendid juxtaposition of horror over the Vietnamese and the exhilaration among the Americans. Another wholly self-descriptive scene is that of Marlon Brando confessing with his tremendously pervasive and piercing posture. Robert Duvall's peerless courage and uncommon decisiveness is another completely different, yet scathing, character. The movie is philosophic with events meandering here and there but never getting away from the target. 10/10
pretentious piece of sh.t
This movie was just plain bad. I have never reviewed a movie here in my four years of browsing the site, but never in my days of watching movies have I been so infuriated by a film. For starters, the movie just doesn't make any sense. There is no logical transition from scene to scene. As I was watching this movie, I found myself actually TRYING to convince myself that it was good, that at some point during this overdone, self-righteous piece of poo, that some semblance of a theme or motif would come into play. No: The movie continues to lead you down the linear path of the story. I now see where Charlie Sheen inheritted his blank stare acting prowess from that he so consistently displays on a weekly basis in his new sitcom. Well, I guess it is the apocalypse NOW because I've read that Two and a Half Men is the top viewed sitcom on network television. And guess what, this is the 36th ranked FREAKING movie on IMDb. I never thought that a single movie could cause me to never want to watch another movie of the same GENRE. THATS how bad this movie was. 3 hours and 20 minutes of my life, wasted So I thought that, although I normally don't review movies here, why not put in another 2 minutes so maybe, just MAYBE, I could have done some good by watching this movie. That good will be if I can manage to convince even one potential viewer to avoid this overdone pretentious Francis Ford Coppola bullshit. So as far as I'm concerned, IMDb and every movie critic out there has lost all credibility.
The horror…. The horror
'Apocalypse Now Redux', Francis Ford Coppola's war opus is probably the most beautiful war film I have ever seen. Capt. Benjamin Willard (Martin Sheen) is a Vietnam soldier who is tapped to head a very dangerous and highly classified mission into Cambodia to 'terminate the position' of Col. Kurtz (Marlon Brando), a highly ranked and highly regarded army man who seemingly has gone completely insane and defected from the army, setting up his own little society and helped by a cultish following of soldiers. Escorting him up the river to Cambodia is a handful of navy men, and along the way, they encounter several interesting people (most notably is Robert Duvall's Kilgore, a badass lieutenant colonel with a few screws loose) and some horrifying situations.

'Apocalypse' is less historical war film than a philosophical and psychological study. It is more 'Full Metal Jacket' than 'Platoon'. The running time of 'Apocalypse' is over three hours, but the film is so wonderfully paced and compelling that when the end of the film arrived, I was actually surprised at the amount of time that had passed. The beautiful cinematography is surely what stood out the most for me, however. After seeing this film, I am convinced that Coppola is one of the masters of light and photography in film history. The 'Godfather' films were all tinged with an almost sepia tone, and shadows created the feeling of a Baroque composition. With 'Apocalypse', there is an incredible usage of natural light, and the shadows, particularly in the scenes involving Brando and Sheen, almost become a living character, they are so pervasive and effective. Another gorgeous scene was when Cpt. Willard and Jay Hicks (Frederic Forrest) were in the jungle looking for mangoes, and come across a tiger. The sheer enormity of the surrounding foliage (leaves as big as a house) made the characters almost Lilliputian, but the colorization of the scene was incredible. While everything else was almost a muted grey, the leaves were an incredibly vibrant green, an effect that was particularly striking. Another really minor positive moment in the film was the great scene when the helicopters carrying Duvall and company attack the small village while playing Wagner. This could have just been an ultra-dramatic underlying soundtrack to the scene, but instead Coppola turns the song into an actual part of the scene, with Duvall mentioning that he likes to play it while they are approaching to 'scare the hell out of them'.

The performances in 'Apocalypse' are first class. Much has been made of the amount of money Brando earned for the film, and the amount of trouble he caused. Regardless of this, he turned out a powerful performance for a relatively short amount of screen time. Sheen is completely outstanding - this is the first time I have seen him really unleash in a film – and Duvall is a lot of fun to watch as the loony Kilgore. 'Apocalypse Now' is a film that is so pervasive in pop culture by now (most know several choice lines from the film, 'I love the smell of napalm in the morning' et al) but I knew little enough about it that there were plenty of surprises left to experience. I have not seen the original cut of 'Apocalypse Now' so I cannot compare it to this newer cut, but this is a film that should most certainly be experienced. 8/10

See Also
📹 Apocalypse Now full movie HD download 1979 - Marlon Brando, Martin Sheen, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fishburne, Albert Hall, Harrison Ford, Dennis Hopper, G.D. Spradlin, Jerry Ziesmer, Scott Glenn, Bo Byers, James Keane, Kerry Rossall - USA. 📀