• Thuesen Wilkins posted an update 2 days, 17 hours ago

    Most of the plebiscites for the most outstanding works in the history of the 10th muse unanimously place the same winner in the first place.

    Of course, there are exceptions to this rule, but even the greatest of fools will have to agree that this statistical unanimity is food for thought. So call me a moron, because she has been baffling for a long time. Yes, "The Godfather" is without a doubt a timeless work, and it is generally a very nice movie. The thesis that there was no more significant, more mature specimen in the history of cinematography is contradicted by one simple fact: well, Francis Ford Coppola has a painting on his account that beats the mafia saga. I would like to calm the impatient: I do not mean "Jacek" or even "Cotton Club". The title that outclasses Marlon Brando’s stuffed cheeks is seven years his junior, Coppola’s "swan song", "Apocalypse Now." Have you ever considered any real freedoms? Freedoms from the opinions of others …, even the opinions of yourself? At the outset, I would like to emphasize that the following review will not be a real review (a sneaky fox, eh?), But just a sketch for a battlefield report. As with any great achievement, it is practically impossible to summarize and quantify the real value of "Apocalypse Now". Just as the book by Joseph Conrad, which is the basis of the script, is not just an adventure novel, the image of Coppola eludes the rigid frames of war cinema or – if you prefer – anti-war cinema.

    There will be a discrepancy between our flimsy body and what philosophers and preachers used to call "soul", a gap between the fateful nature of the beast and the raped self of the divine infant. War will be a metaphor of being, of existence at the end of which the answer to the Question is expected. It is one thing, eternal, containing all the others. Zoetrope Studios I watched a snail crawl along the edge of a straight razor. That’s my dream … The path that Captain Willard takes, accompanied by a team of fledgling soldiers, is an escapade through hell, to the border beyond which lurks madness. In the midst of the madness of senseless slaughter, however, there is a reversal of roles: recognized by the "sane" generals, combining the features of a holy barbarian and an accursed poet, Colonel Walter E.

    Kurtz is the only one who turns out to see things as they really are. In a world of monstrosities, he sets himself the ruler of a monstrous land, somewhere on the edge of the world of a kingdom beyond morality. It exposes the absurdity of civilization norms and divisions into what is good and bad, it shows the void of a fragile facade that man has developed over the centuries for his own use.

    But when it becomes moral again to murder women and children, deprive strangers of the right to live on their own terms, the world is once again on the brink of sanity. Will everyone be granted the Truth? Is it possible to finally fuse these two separate entities slumbering inside each of us? So that we would be whole again and, losing sight, regain it? Marlon Brando Zoetrope Studios We train young men to drop fire on people, but their commanders won’t allow them to write "fuck" on their airplanes because it’s obscene. Not without reason, the creator of "Rozmowy" used the song "The End" from the first album of the long-playing group The Doors in the form of a leitmotif for his apocalyptic odyssey.

    Decorated with Oedipal accents, the song about the scale of the Greek tragedy naturally connects two spheres that determine our existence: Eros and Thanatos.

    Both sex drive and death are issues beyond man’s control and at the same time give shape and purpose to his life. The question of whether this is an apparent sense remains open, but it is quite possible that we are fulfilled in this movie called life only under two circumstances: when we achieve orgasm (never mind if it is successful or not) and when we die. Seen from this perspective, all the rest is wandering in a vain, groping for solace. Thanks to this illusory status quo, we can maintain a state of apathy, prepare tea, do work, or end up in the morning with our head under the table. I love the smell of napalm in the morning … I will deliberately not quote here the most memorable fragments of the work in question: those that have become permanent in history, those without which cinema would not be the same. I will also not elaborate on the issue of acting or technical aspects (let’s praise you for Vittorio Storaro, however).

    For some reason it seems to me that this would create a split and unnecessary confusion. Since a sketch is a sketch – let others do it for me.

    However, two existing alternatives are worth mentioning.

    The version that the audience met at the time of its premiere was long considered the canonical, complete version.

    The 1997 extended edition complements it:

    In the late 1970s the producers Irwin Yablans and