🎦 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...
Type Resolution File Size Codec Bitrate Format
1080p 1920x816 px 9051 Mb h264 6453 Kbps mkv Download
HQ DVD-rip 720x352 px 1142 Mb mpeg4 710 Kbps avi Download
DVD-rip 600x352 px 701 Mb mpeg4 665 Kbps avi Download
iPhone 320x156 px 397 Mb h264 286 Kbps mp4 Download
Lives Up To Its Title
From all of the Vietnam war movies this is probably the most frightening and disturbing and that is really saying a lot with so many spectacular ones that have come out. It has this freakish feel to it. Everything is so chaotic in the movie it scares you. It is not like it shows a lot of different things compared to the other Vietnam war movies. What does push to such a high level is the:

The directing was spectacular here. Francis Ford Coppola shows of his talent in his last epic movie. Unlike other directors he makes you feel as if you are in the war. Most others just display and show you the horrors of war. Coppola though makes you feel confused, shocked and scared. These feelings of war are usually told to us from a movie or story. This is something that I have only experienced very few times while watching a film. The writing was of course amazing too. It brought you write into the middle of the movie. It never made me bored and this movie is three hours. The cinematography goes hand in hand with the directing which very much added to the freakish experience of watching this film showing all the chaos around you even when everything seems calm.

The acting was bone-chilling. Just look at Marlon Brando also giving his last great performance playing a deluded, out of whack colonel. When ever I think of a crazy gone made soldier I think Marlon Brando in Apocalpyse Now. With Brando n this film you don't want to look into his eyes. Like the movie he was freakish. To me this performance is as memorable as the one he gave in The Godfather. Martin Sheen gave a very deep performance and probably the best one of his career making you see everything through his eyes all the craziness he is experiencing and yet wanting him to get to his goal. It is just a wonder why these two did not get Oscar nominations. Robert Duvall was able to show part of that craziness with his ludicrous battle strategies, among those playing music to tell the enemy he is coming. Also Duvall's character asking one of the soldiers to surf in the middle of a battle was just shocking but believable. Other great supporting performances were given by a young Laurence Fishburne, Sam Bottoms and Frederic Forest who all summed up the attitudes of many of the soldiers at that time without becoming a cliché. Also for once cameos were put into good use having Dennis Hopper and Harrison Ford who I both love.

I would definitely recommend people to watch this movie. It has a message and everyone involved in the making of it is at their best. There is nothing more I could ask of this movie with its great acting, directing, writing, cinematography and great ending. Watch and you will see why it lives up to its title Apocalpyse Now.
The last great Hollywood film

I first saw AN on TV while I was in high school. Then, I found it interesting and compelling,but the obtuse plot confused me and prompted me to venture into the kitchen for snacks a few times & I fell asleep before it ended. Although greater maturity may have given me new perspective, the added scenes are pivotal to the movie's themes & are crucial to understanding the film. Now, seeing this re-edited version on the big screen some 15 or so years later I realize what a masterpiece it is. Back then, I watched it to gain an understanding of Vietnam/war. Now, Armed with more knowledge of US (military) history (but not having read anything about the making of AN or "The Heart of Darkness", the book on which it was based), I realize that the movie wasn't really about Vietnam....or war, for that matter. The Vietnam War is really just the background/setting for the movie. "War is hell" is a rather cliche plot for war movies (and not really much of a plot in & of itself). AN avoids the cliche because it is really a study in human behaviour & social organization under duress. The film reveals how ritual makes or breaks individuals under duress. Take the early scene with the helicopters lifting off. Chef asks one soldier why he sits on his helmet, to which the soldier replies "to protect my balls". When Chef takes off his helmet & sits on it too, we see how ritual is born of superstition. Sitting on his helmet may not make him any safer, but the feeling of control over the situation helps them to survive (ease his nervousness & focus his attention on the matter at hand) while under attack. On first viewing, I had also assumed that Willard was the central character of the story. But he's not, he's the narrator & his fate is sealed in order to tell the "story" to its end. So not only is his cool, detached demeanor essential to his survival, it's also a literary device that's essential for the telling of the story. As a result, his behaviour is the least interesting of all the characters in the movie. He's a "special forces" man because he does what he's told & performs his duty to its end. Hence, his character does not develop in the film. *Spoilers* By contrast, the most interesting characters to watch are Lance & Chef. Only one of the two survives to the very end, and the reason why lies in the ability of his character to adapt to his environs. This is why the addition of the scenes contrasting the two of them with the Playboy bunnies really helps to make more sense of the subject matter. These scenes, which were not in the original, are the pivotal moment at which the characters' raison d'etre is put to the tests (& ironically it's not in war that this occurs). Chef takes the opportunity to play out the same fantasy he had before he came to Vietnam, having sex with Miss March. Lance, on the other hand, becomes more playful in the scene, plays with the bunny's make-up & in the process creates his own new ritual. Chef's inability to consumate a sexual relation with the Playboy bunny is unsatisfying/empty because he can't accomplish his goal given the circumstances. Lance, on the other hand, isn't remotely concerned with conquest & instead has entered a new world/frame of mind. From this point on, Lance cultivates this ritual (the scene with him applying camouflage while looking into the bunny's compact is particularly memorable). His behaviour may seem odd to the rest of the soldiers, but his previous (American) personality (as a California surfing stud) becomes more hidden behind the mask. Hence, he's able to "go native" and mingle with the inhabitants of the primitive society at the end of the river unmolested. Willard also survives because he is the chosen one, the white god they were expecting. He comes from the same clan ("special forces") as Kurtz & was chosen to replace him, however he had not shed is previous (American) skin & so he (unlike Lance) must be initiated with his own rite of passage (hence the mud bath to darken his skin & then being imprisoned) before being allowed in (which Lance does not have to go through). Chef, on the other hand, is still fighting the war by the time they reach The End, his character hasn't changed; hence, he becomes The Other/enemy to this primitive society and must be eliminated. *End Spoilers* The addition of the scenes of the french outpost were also a welcome addition, since they helped to develop the contrast between "civilized" society & primitive. However, the inclusion of the romance/sex scenes (from the end of the dinner til the widow & Willard are in bed) detracted from the movie because they were really out of character for Willard. However, the scenes up to the end of dinner illustrated effectively how "civilized" society copes in the face of adversity, with its private & emotional acts of violence, it's need to intellectually justify it's actions (in order to successfully ignore what is actually happening). The political diatribes at the dinner table felt a bit heavy-handed while watching them. However, in retrospect, they were a fairly accurate portrait of French-US encounters at that time. Outside of Willard's sex scene, the only other scene that felt completely out of place in this re-edit was the scene where they open their mail. Where did this mail come from? The scene definitely felt out of place because it was used (the playing of the tape from home) to heighten the dramatic effect of war while providing an explanation for how Willard got his updated information on Kurtz. The only thing bad one can say about this movie is that it magnifies how awful Hollywood films have become. Only a handful have been worth watching (LA Confidential, American Beauty, The Man Who Wasn't There) & only 1 (Brazil, which probably wasn't even a Hollywood studio) film over the past 25 years has been able to match it in quality/complexity/development/cinematography/etc.
I love the smell of napalm in the morning
I decided I need to lengthen up my review for my all time favorite film. Unlike other war films that focus on the event, Apocalypse Now takes the viewer into a psychological head trip. The sheer surrealism makes the body uncomfortable, yet you can't lay your eyes off of it. Based off of Joseph Conrad's Heart Of Darkness, Apocalypse Now slowly descends its protagonist, Willard (Martin Sheen) into madness, most likely the same way Kurtz plunged into insanity. The production of this film is notorious for its delays provided by the monsoon season and for Brando's unprepared performance (he read his lines from cue cards). There is a documentary titled Apocalypse Now: A filmmakers Apocalypse which shows the hell everyone went through in making this.

The opening sequence is one of the most famous and popular in any film. As the blade of the helicopters are heard in slow motion and napalm is dropped in the trees, the song "The End" by the Doors can be heard. The next shot is of Willard in his bed with the fan on, so the noise of the helicopter coincides with the fan. We are informed that he does special missions for the military, mostly assassinations. When his next mission is given to him, he is baffled. "Charging a man with murder here is like giving a speeding ticket in the Indy 500." The man he has to kill was a respected colonel that has gone insane and isolated himself along with tribes people. Kurtz is ordering atrocious acts that are carried out by these people and he must me stopped. Willard does not go alone however. He is carried on a boat with several soldiers and they come across several battles. Along the way, they meet Lieutenant Colonel Bill Kilgore "Hoorah" about the war. Willard ponders that if Kilgore is that crazy, what could Kurtz be like. There are many scenes that portray Willards plunge into insanity: The tiger attack, the slaughter of innocent Vietnamese, the nonstop rain, the piled dead bodies scattered about, and the deaths of his crew members. When he reaches the Kurtz compound, he is greeted by the village people and a hippie photojournalist (Dennis Hopper). Instead of assassinating Kurtz right away, Willard begins talking with him and his conscience begins to doubt what he should do. Kurtz, on the other hand wants to die. He is tired of the war and wants to go down as a soldier. Willard kills him with a machete while in unison, a buffalo is sacrificed with several machetes by the people. Once they realize their leader has been slain, instead of killing Willard, they hail him as their new king. Willard rejects the offer and leaves them.

The cinematography here is absolutely breathtaking. The colors are grain free, something that is rare in older movies. I can watch it muted and admire the beauty of the scenery.

The acting ensemble is terrific, with everyone playing their parts well. Many criticize Brando for some reason, but I think he nails his role as a depressed lunatic who is beaten up by the war.

The soundtrack and the score are haunting, and provide the mood for the film. I am wondering what instrument they used in that guitar-like sound when the credits roll? There have been many parodies of this film, but my favorite quote comes from Marge Simpson when she explains to Homer why a character with the same name on a police show is behaving like an idiot: "Your character provides comic relief for the show, like um, Marlon Brando in Apocalypse Now." Those who have seen the movie know why this is hilarious.
Apocalypse Now is one of the most disturbing and powerful films of all time
A stunning masterpiece from the director of the Godfather, Francis Ford Coppola. Apocalypse Now is set during the Vietnam War. It follows the quest of a man called Captain Willard who receives orders to travel up river and locate a renegade officer, the mysterious Colonel Kurtz. Once located Willard is ordered to 'terminate his command with extreme prejudice'. The only problem with this is that as the quest progresses Willard begins to see parts of himself in Kurtz and begins to identify with is intended victim.

With an infamous reputation and a cast to match, I built Apocalypse Now up to be a life changing experience. One thing I can say about it is that it stands out among the bombardment of films that my brain has been subjected to over the years. It had a reputation as being a bit of a let down in Coppola's eyes as he spent far too much money for what the film eventually grossed at the box office. To be fair to Coppola, anything that follows a film as prolific and influential as the Godfather would be hard pushed to surpass its predecessor. I believe that Apocalypse Now does this and at the risk of making myself unpopular with all you film buffs out there I believe that Apocalypse Now is twice the film The Godfather is. It is a film that I attempted to watch numerous times but just couldn't concentrate on it, dare I say it I found it tedious. I just couldn't understand how it had the reputation it does. As a film man I very rarely switch a film off but I did this one, at least the first ten attempts. I then was sitting bored the other night and swore to myself that it was something I just had to do so I sat down, stuck the DVD on and started drinking a large cup of coffee. Two and a half hours later I was mesmerised. Some may say it was the coffee, I say it was the film, but never the less that night I just could not sleep with excitement. Apocalypse Now is one of the most disturbing and powerful films of all time, it reflects the true limits of the human mind and demonstrates ideally how our ideology changes in different situations. A true masterpiece of epic proportions, that if stuck with will make you a truly richer person.

Yes, it's the best movie ever.
AN is the best movie ever shot. All the cinematographic language is used to a point never met before or afterward. The story is thrilling, and goes up and up to the climatic end. Everything that happens in it has a sense and the levels of reading are infinite. Every viewer will have his own interpretation about the meaning of the movie. It's a matter of feeling the meaning of the events: all of them put together conform a huge, psychological fresco of war. Every war, not only Vietnam. By the way, the Redux version is OK, but not truly necessary, except for the French colonists' scene. It's the only one I really think that should have been in the original version. It's really revealing of the position of France in Indochina. It should be shown in schools to teach the meaning of colonialism.
Warning! Will give you a headache
Disturbingly insane and boring, as it came highly rated, I forced myself to watch it till the end and ended up feeling I wasted 2.5 Hours of my life. Cinematography and lighting may be top notch only if you have the stomach to watch it till the end. there are better movies on war and violence if that's what you like.
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

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.
Redux: still brilliant - but now with new strengths and weaknesses
In an updating of `Hearts of Darkness' a soldier is given a mission to travel up a river During the Vietnam war in order to terminate the command of Colonel Kurtz. Kurtz is operating without orders and is leading a group of natives in brutal violent strikes against the enemy. Despite his history of brilliance and decoration he has clearly gone mad. Willard joins a military boat and travels up river to his destiny. However the further he travels the more madness appears to have become the norm.

That Redux was going to be anything less than brilliant was never in doubt: it was never going to be so different from the original that it would destroy or significantly damage the reputation or impact that the film has. What was in question to my mind was whether or not Coppola should have just left well enough alone. I have seen the documentary about the making of the original film, wherein Coppola derides many of his scenes and decides to cut them out of his movie even as he finishes shooting them - the plantation scene being one of the key ones that he felt just didn't work. It was for this reason that I was interested to see what the additions and rejigging of scenes had done to the film.

The strengths of Redux is that Apocalypse Now was never about the straight story, it was more about the journey Willard undertakes rather than a build up to a traditional conclusion - while the ending is big, it is no more or less important that anything that has gone before it. So for that reason it is a good thing that, simply put, there is now more of the journey to be enjoyed! `49 minutes of new material' my dvd cover screams at me; combine this with the movement of scenes and certainly it does have the feel of a different (albeit familiar) film rather than just a bit of spit and polish with some new CGI effects (yes ET, I'm looking at you). However this increased material also brings with it the problems that not all the material compliments the film in terms of total quality.

None of the added scenes or sequential movements are bad or even average, they are all interesting, but some just don't seem to really fit. The plantation scene has some great dialogue (that strikes a real chord so recently post-Iraq) and it makes it's points but it just didn't seem to fit. I can see what Coppola was trying to do and, if you watch Hearts Of Darkness, you can see that it frustrates him that it doesn't work, but he got it right first time, it doesn't fit despite it's standalone merits. Likewise the playboy bunny scene intrigued me as I tried to get more from the bunny's semi-speech about being made to do things and the theme of objectification, but again it didn't totally work and seemed out of place.

Despite these two major scenes not totally fitting, they are still interesting and, if you came for the journey, then that is what matters and they present themselves as a flawed part of that journey - but a part of that journey nonetheless. Some of the smaller additions actually contribute a lot more to the film. Little moments in the boat show Willard to be more relaxed as a man than the original did - and this greatly benefits my understanding and appreciation of his character. How he interacts with the rest of the crew is also improved. Other minor additions to existing scenes serve to enhance them, but improvement in some areas is difficult when it comes to this film.

I won't go into details on cast, performances and the themes of the film as I have already done that in my other review. Suffice to say that, if you loved Apocalypse Now then Redux will likely both enhance your enjoyment and slightly irritate you at the same time. The film easily stands up to the longer running time - as another user said, I could easily give the five hour version a stab (well, maybe once!) as the journey is the all. The additions may not be without flaw, but then that's why they were higher on the editing hierarchy than the rest of the stuff! However they add interest and minutes to the journey - both of which are good things.

Overall, it is very difficult to take `one of the best films ever madeT ' and make it better - and Coppola hasn't done that here, but he hasn't damaged it either. It isn't a brand new film and it doesn't mess around with the original so much that it could be called a different film - so I won't compare the two as to which is `better'. Suffice to say that, while I don't totally agree that you `can't have too much of a good thing', certainly an extra 49 minutes is gratefully received where it doesn't damage or cheapen but only seeks to enhance and support.
"The horror...the horror" is the reality of war and its effects...
Spoilers. This review has been edited due to word limit.

`The horror. The horror.' Marlon Brando, Apocalypse Now (1979) and Apocalypse Now Redux (2001)

The sentence which is as famous as `Here's looking at you, kid,' or `Are you talkin' to me?' or `May the Force be with you,' or `I'll be back,' means a little more than some one-liners. When it is spoken it lingers in the air with an importance and meaning that does not go unnoticed. What might drive some viewers nuts is that they may never find an answer to the horror unless they re-watch the film and try to pay close observation to every single frame.

What, exactly, does this line of dialogue mean? The horror spoken of is the reality of war. The reality of moral men being so easily corrupted that they turn on their inborn instincts and kill fellow beings without any sign of guilt. When Capt. Willard (Martin Sheen) stands before the dying Col. Kurtz (Marlon Brando) at the end of the film, `The horror.the horror.' is the realization of Willard's corruptness. He has mercilessly killed a man in cold blood as part of his assignment. This isn't a typical Hollywood ending. In most cases a character gains something, whether it be emotionally, physically, mentally or all three. But Willard both gains and loses. He gains the knowledge that he has lost his morals. And that is a shocking ending.

`Apocalypse Now' is Francis Ford Coppola's tribute to the artistic side of filmmaking. This film is wholly different from `The Godfather.' It is hallucinogenic, visually dazzling, and an ode to the guilty side of human nature. At first it seems realistic, and then it becomes strange, and then symbolic, and, by the end, original in its own unique perspective of the spiritual side of warfare. This is not as much a film about the Vietnam War as it is a film about the war within us.

At first it does appear to be another war film. Captain Willard (Sheen) is assigned by an Army Lieutenant (a young Harrison Ford) to assassinate a renegade American Colonel named Kurtz (Brando), who is hiding out somewhere in Vietnam with a hoard of troops who more or less act as his slaves.

Willard carries out his mission `with extreme prejudice,' heading out on a boat along with four soldiers, including the boat captain, Chief (Albert Hall), Chef (Frederic Forest), and a very young `Larry' Fishburne (who later went on to appear as Morpheus in `The Matrix').

"Apocalypse Now" is in a many ways a modern update of Homer's Odyssey. As our main character, Willard, carries on his journey, he meets an array of original and strange characters, including Lt. Col. Kilgore (Robert Duvall), who has a strange fetish for surfing, and a stoned photographer (Dennis Hopper), whose lively gestures and mannerisms can be compared to those of the very much lesser Jeremy Davies in "The Million Dollar Hotel," one of the worst films I have ever seen. Davies failed to make any connection with an audience; Hopper does. He is like the poetic vibe between Willard and Kurtz; he is like an interpreter going back and forth and speaking in foreign languages. In this case, he is translating Kurtz to Willard, although I'm not so sure Kurtz needs a translation of Willard.

Many films are lucky enough to have one or two memorable scenes or lines. "Apocalypse Now" has many. Kilgore descending upon a Vietnam village playing Wagner's "Ride of the Valkyries" remains one of the most remembered scenes in all of film history. There is sharpness to it, a brutality to it, an ironic tone to it, and also a sense of playfulness. When Kilgore kneels down on that beach and says, `I love the smell of napalm in the morning.it smells like victory,' we all crack a smile.

I won't lie to you: `Apocalypse Now' is a strange film. It isn't exactly the easiest thing to analyze. The end may frustrate some viewers if they don't understand Marlon Brando's significant speeches. But what it all comes down to, what really matters, is that this film is about the dark nature of the human psyche. The horror is the realization of war and its effects, not the war itself. Kurtz says, `You have a right to kill me. But you have no right to judge me.' Brando's character, Kurtz, is left to the audience to judge. To many naïve viewers he may appear as a crazy loon whose power got to his head. But that isn't what Francis Ford Coppola is trying to get across. By fighting in Vietnam, Kurtz has realized just how great he had it, and how bad some others had it. By walking through devastated villages he eventually comes to realize that we are the naïve ones, living our lives in a fool's paradise. We are totally naïve to our surroundings and possible misfortunes until they hit. By seeing how unlucky some Vietnamese are, Kurtz realizes just how easily he could be struck by something. Just how easily he could end up like the people around him. And he also realizes that the people who did this are people who have abandoned their morals and left them at the door. Many people think the horror is one thing. It is two. For Kurtz, the horror is the reality of how naïve he was and the reality of the war's impact upon men. And after Willard murders Kurtz, and hears Kurtz's dying words, he realizes it too. He realizes the effects of war. To see so many soldiers with no sense of right or wrong makes him realize the horror of what war can do to a man. And what it has done to him. The horror.

5/5 stars -

📹 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. 📀