Great literature transcends time because of its inherent qualities: the author has a clear purpose, the author achieves that purpose, and the purpose is a worthwhile one.
Tuesday
Discussion Topic #2
In 100 words, cite an instance where the film Apocalypse Now either reveals or ignores an important issue/idea presented in Heart of Darkness.
* Do not repeat ideas. * Proof your work. * Pay attention to word count (use concise language).
A Heart of Darkness and Apocalypse Now parallel in that both the film and the novel portray a man, either Marlow or Willard, on the verge of breaking. Several times each character, ultimately the same, is confronted with many situations in which their character is tested and savagery threatens to reveal itself. Being in the jungle and traveling down the river depicted in both the film and novel is an influence more than tremendous enough to change a man from society’s standards to those within the jungle. Marlow and Willard, though, are able to maintain their superego despite the strong influences surrounding them, unlike Kurtz, who ultimately becomes the ideal ‘id’ character.
One thing Apocalypse Now touches on more effectively than Heart of Darkness is when Willard is reflecting after his experience with Kilgore. He calls into question the reason he was told to eliminate Kurtz: because he is insane, a murderer, etc. Willard realizes that many, many other soldiers probably fit that description, and so there must be some greater reason as to why the leadership wants Kurtz killed. Apocalypse Now does a better job of letting the audience know that, as opposed to Heart of Darkness where one has to figure it for him or herself.
Thus far, Apocalypse Now has stayed fairly true to the text. One theme brought to life is the essence of "darkness" that lies within the soul. Fog is shown shadowing the jungle, typically after Kurtz is mentioned or some "evil" sentiment is shared by one of the characters. After Willard is initially introduced to Kurtz through the ominous voice recording, the camera pans to a window, revealing a jungle concealed by grayness. This sort of imagery, though carefully worded and placed in Heart of Darkness, is best seen.
One major idea, from the book, portrayed in the movie is the use of fog or smoke to show how these men really have no idea where they are going. They have no idea that they are heading into a territory that could change anyone drastically, as Kurtz does. This is a great example of psychological terror, it scares the men on the steamboat, and the lack of light in the jungle allows the men to get so jumpy when they encounter a tiger. That nervousness makes their decisions not thought out thoroughly especially in the middle of conflict, such as when the men on the boat are attacked by the natives.
Apocalypse now does a better job of cluing the reader in to the mystery of Kurtz at the start of the storyline. In Heart of Darkness, it is not until the very end of the narrative that readers can fully unravel the mystery behind Kurtz and realize his insanity. Right when Willard meets with leadership at the start of the movie, Kurtz is pronounced as “insane.” Going into the storyline with this information makes it easier for the viewer to explain Kurtz when he appears in the film. As for the book, Kurtz is met rather blindly (at least regarding his mental state), and so interpreting him becomes much more of a challenge.
I find the scene where the chef from New Orleans encounters the tiger an especially effective addition to the plot. It’s important because when he returns to the boat his self-control has completely dissolved and he is just unconsciously childish. The symbolism here illustrates how one “pounce” of cruel, wild reality can have a devastating effect on the psyche. As Willard warned: "Just don't go out there by yourself. You don't wanna go in there alone, unless you really know the territory." The “territory” is your own mind. You’ve got to be self-aware, like Kurtz, if you want to remain in control.
Subtle although fascinating in the context of the film is the opening in which we see the great might of an army air cavalry unit practically paraded in front of the screen followed by a brutal napalm air strike at what is apparently an empty patch of jungle. The imagery closely parallels that of the European warship described by Marlow firing blindly into the vastness of the African continent. Through this motif we are given a glimpse of the irrational conduct and ironic futility of operations that took place in both Vietnam and the African Congo alike; Savage by nature.
7 comments:
A Heart of Darkness and Apocalypse Now parallel in that both the film and the novel portray a man, either Marlow or Willard, on the verge of breaking. Several times each character, ultimately the same, is confronted with many situations in which their character is tested and savagery threatens to reveal itself. Being in the jungle and traveling down the river depicted in both the film and novel is an influence more than tremendous enough to change a man from society’s standards to those within the jungle. Marlow and Willard, though, are able to maintain their superego despite the strong influences surrounding them, unlike Kurtz, who ultimately becomes the ideal ‘id’ character.
One thing Apocalypse Now touches on more effectively than Heart of Darkness is when Willard is reflecting after his experience with Kilgore. He calls into question the reason he was told to eliminate Kurtz: because he is insane, a murderer, etc. Willard realizes that many, many other soldiers probably fit that description, and so there must be some greater reason as to why the leadership wants Kurtz killed. Apocalypse Now does a better job of letting the audience know that, as opposed to Heart of Darkness where one has to figure it for him or herself.
Thus far, Apocalypse Now has stayed fairly true to the text. One theme brought to life is the essence of "darkness" that lies within the soul. Fog is shown shadowing the jungle, typically after Kurtz is mentioned or some "evil" sentiment is shared by one of the characters. After Willard is initially introduced to Kurtz through the ominous voice recording, the camera pans to a window, revealing a jungle concealed by grayness. This sort of imagery, though carefully worded and placed in Heart of Darkness, is best seen.
One major idea, from the book, portrayed in the movie is the use of fog or smoke to show how these men really have no idea where they are going. They have no idea that they are heading into a territory that could change anyone drastically, as Kurtz does. This is a great example of psychological terror, it scares the men on the steamboat, and the lack of light in the jungle allows the men to get so jumpy when they encounter a tiger. That nervousness makes their decisions not thought out thoroughly especially in the middle of conflict, such as when the men on the boat are attacked by the natives.
Apocalypse now does a better job of cluing the reader in to the mystery of Kurtz at the start of the storyline. In Heart of Darkness, it is not until the very end of the narrative that readers can fully unravel the mystery behind Kurtz and realize his insanity. Right when Willard meets with leadership at the start of the movie, Kurtz is pronounced as “insane.” Going into the storyline with this information makes it easier for the viewer to explain Kurtz when he appears in the film. As for the book, Kurtz is met rather blindly (at least regarding his mental state), and so interpreting him becomes much more of a challenge.
Becky Gessler
I find the scene where the chef from New Orleans encounters the tiger an especially effective addition to the plot. It’s important because when he returns to the boat his self-control has completely dissolved and he is just unconsciously childish. The symbolism here illustrates how one “pounce” of cruel, wild reality can have a devastating effect on the psyche. As Willard warned: "Just don't go out there by yourself. You don't wanna go in there alone, unless you really know the territory." The “territory” is your own mind. You’ve got to be self-aware, like Kurtz, if you want to remain in control.
Subtle although fascinating in the context of the film is the opening in which we see the great might of an army air cavalry unit practically paraded in front of the screen followed by a brutal napalm air strike at what is apparently an empty patch of jungle. The imagery closely parallels that of the European warship described by Marlow firing blindly into the vastness of the African continent. Through this motif we are given a glimpse of the irrational conduct and ironic futility of operations that took place in both Vietnam and the African Congo alike; Savage by nature.
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