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Apocalypse Now Essay

915 words - 4 pages

The concept of pastiche has encountered much attention from the exponents of post modernism. As the concern with reproduction of earlier texts is central to adaptation, it is appropriate to consider adapted films as pastiche where diverse texts merge together. Francis Ford Coppola’s Apocalypse Now can be considered as pastiche because of its intertextual meanings which are mostly drawn from Joseph Conrad’s Heart of Darkness.
In this essay I will discuss the statement “What a film takes from a book matters; but so does what it brings to a book.” by analysing Heart of Darkness by Joseph Conrad in relation to Francis Ford Coppola’s Apocalypse Now.
The film has its debut with Captain Willard ...view middle of the document...

Francis Ford Coppola decides that Joseph Conrad's retrospection can be given by an unexpected monologue, letting the viewer have an insight into Willard's thoughts throughout the movie. This approach respects the novel’s narration by shaping Conrad’s voluminous descriptions into a verbal narrative, in this way helping the viewer understand passages in which the film follows the mental progress of the character. On one hand, the viewer is immersed into Willard's journey, and there is a sense of mistery surrounding the faith of the character which is not present in the novel. Willard's steady transformation to a more savage, primordial human allows the viewer to resonate with what he experiences exactly. On the other hand, in Conrad's novel, the reader progresses through the story from Marlow's point of view, but he is certain of the positive outcome.
Marlow senses that the mystery which lies behind Kurtz's transformation and absence has its roots in the jungle. The "overwhelming realities of this strange world of plants, and water, and silence" suggest an unfriendly environment, and Marlow starts feeling that he is at a passage between two worlds. As civilisation remains further behind him, he feels he can establish a connection to his surroundings and to the natives, being enchanted by the idea of a "remote kinship with this wild and passionate uproar". But Marlow is not distracted by his new­ connection with the "heart of darkness”, he is only aware of its power. He says, "When you have to attend to . . . the mere incidents of the surface, the...

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