🎦 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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"redux" is SACRILEGE!!!
My rating is for the ORIGINAL 1979 theatrical movie. I would only give 8 stars for "redux". I live,eat, and breath this film. It embodies so much thought. My wife is tired of hearing the DVD played on our DVD/VCR entertainment center. I even like the end credits and the lack of clutter in relation to them. Platoon ("Spitoon"), Full Metal jacket (apologies to R. Lee), and even Saving Private Ryan ( "It's a Wonderful Life" set to WW2) cannot compete with this 1979 masterpiece of cinematography. The soundtrack alone is brilliant thanks to Carmine Coppolla and MOOG. So haunting and mysterious. Whenever I pass a tree line driving and see the tall trees in front of the red sunset I remember that film when they were on the river and that eerie music.

"...you're an errand boy, sent by the clerks to colelct the bill."
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.

A superb exploration of both film and literature.
First of all, I believe that this movie is much more appreciated by viewers who have actually read Joseph Conrad's "Heart Of Darkness", the book that was the literary basis for the movie. With that said, I believe that this movie is astounding. It is an excellent war film that doesn't so much concentrate on the gore and brutality of the Vietnam Conflict, but more the psychological toll that it took on the young, inexperienced "kids" who were sent to fight it. Coppola showed real genius in the art of film-making, using many visuals to help tell the story. The acting I felt was definitely all-around up to par. Marlon Brando's part in the movie is what really got me as far as acting. His elucidation to Willard at the end of the film reels you in, and reveals the hollowness of a man that you've heard about and wanted to see throughout the movie. Those who would consider this just another war movie need to give a detailed look to all the literary elements that are entwined with this film, because there is a great amount of meaning behind it all. In my opinion, this is one of the most sculptured and best-made films of all time.
The Heart of Immense Darkness
I'd like to get this out of the way, Apocalypse Now is not a film. Francis Ford Coppola's 1979 adventure, war epic transcends the medium of film and even storytelling itself, and becomes something else. What it is, I'm still not entirely sure; a statement on the war in Vietnam, a descent into utter madness, a degradation of civilized humans into their primal selves? It is all of these things and somehow, none of them. All i can say with certainty is that it is the single greatest statement on human nature i have ever seen.

Apocalypse Now stars Martin Sheen as Captain Benjamin Willard, a US army veteran living in Saigon, who's experiences in Vietnam have fundamentally changed him as a person. Willard is given a mission from the higher ups in the Army, to travel upriver, from Vietnam into Cambodia.

A Green Beret Colonel named Kurtz,played by Marlon Brando, appears to have lost his mind fighting in the war and has led the rest of his unit, along with a number of local tribesman, deep into the jungle. There he resides as their "God".

As Willard travels upriver, his journey becomes a dreamlike nightmare, consisting of surreal and haunting sights that force Willard and the others on the boat to confront their own nature as humans.

The film has the best Cinematography i have ever seen in a film, with beautiful yet disturbing visuals and superb sound design. All actors give excellent performances, especially Sheen, Brando, and Robert Duvall who plays the flamboyant and ruthless Colonel Kilgore.

Apocalypse Now is both my personal favorite film of all time, as well as, in my opinion, the greatest film ever made. This film should be required viewing for all, you owe it to yourself to watch it.
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.
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"
Spoils Of War
You can find an anti-war statement here without looking too hard; that layer is hackneyed. Or you can find a value neutral comment on the madness of war (stripped of "judgement"); that layer is completely uninteresting.

Or you can watch this for the darn good entertainment value of Duvall's one-liners, but that's just a coating for commercial mastication.

You can try to view this as a 'realistic' Vietnam war film, but ask any veteran and he'll swat down that notion -- most vets will say it stinks.

Or view it as a 'will he or won't he' morality play -- nothing rich there, either.

Where I found the value was in the superb self-reference. Coppola needed a container with great enough dimensions (the war) to fit the greatness of the skilled multi-dimensional actor playing 'a great man'.

Brando the man was as much of a maverick as the Kurtz character. The studios were uncomfortable with his acting 'method', yet he always excelled and won accolades; the 'generals' are uncomfortable with Kurtz's 'unsound methods', in spite of his strategic genius.

So Coppola makes a movie all about Brando's greatness. To hammer on the point, he places himself in the movie (as Hopper, a manic photojournalist laden with multiple cameras) to spout his praises. Brando himself is only seen in half-light and silhouettes -- brilliant cinematography by Storaro that only increases the actor's power. And he goes out like the sacrificial bull to complete the narrative equation. Oh, yes: "the horror..."

Other pieces of interest: the great use of point of view camera perspectives, including 'being in the firefight' long before "Private Ryan"; the ground breaking use of sound, notably the ominous flanging sweeps and the sonic depiction of an acid trip.

Don't get caught in the outer layers; the rich part you should despoil from this is the brilliant core of sound, vision and self-reference.
Beware, my friends. Though bold and striking, this is not a movie that should show its face in the new millennium or any era of artistic expression evolved beyond adolescence. Casual film-goers will probably be impressed at the scenery, the grandeur and the theatrics as I was when I was 16. But years later, I've matured a bit, and I am absolutely horrified and sickened at how I was duped. (It's not unlike the feeling of rummaging through your old 80s wardrobe and seeing those "cool" parachute pants, acid-washed jeans and Miami Vice sockless-loafers accusing you from beyond the grave!)

Not all of you, but an (enlightened?) minority WILL BE OFFENDED by this movie. Certainly the veterans of Vietnam will smell something rank about how Mr. Coppola made such a pretentious carnival out of that truly humbling and difficult time. But what I found utterly damning of this film, despite the best efforts of performers, were the atrocities that Mr. Coppola committed for the sake of his magnum opus. A bull was slaughtered live and on camera just for some added gore (of which there is no shortage in this movie). Acres of beautiful, Filipino countryside were ignited with Hollywood napalm (gasoline). And last but not least, an entire culture was slandered beyond belief to a degree from which they may not have yet recovered.

A few years ago, a New York radio personality gained enormous popularity with his irreverent and vulgar on-air antics. I admit that at the time I was amused by the novelty, but then I grew up. It may be a few decades yet, but I have enough faith in human/artistic evolution that this movie will similarly be relegated to its proper place as a monumental but shameful part of our ever-growing history.

My advice to those of you with unquenchable curiosity? Before contributing to the popularity and profits of this production (as I foolishly did), borrow a copy of this movie from someone and watch it secretly, as you would a horrible car wreck on the side of the road.
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.
IMDB needs seperate listings for the 1979 classic and the 2001 director's cut. The former is a classic while the latter is a bomb.

I don't recall ever seeing a film where the director's cut was so inferior to the original. The extra footage adds NOTHING to the film but does make the movie seem both endless and meaningless.

Sometimes less is more (ie, the 1979 theatrical release). It's unfortunate that the DVD doesn't allow the viewer to select which version to watch.
📹 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. 📀