Apocalypse now Redux (2001)

Maddeningly surreal, yet absolutely mesmerizing journey, nay, odyssey into insanity. An alienated vietnam soldier (Martin Sheen) is put on a secret mission to search for a highly decorated colonel (Marlon Brando) and eliminate him for crimes committed by his league of loyal soldiers who have settled in Cambodia. On this voyage we witness the greatest battles (made even more memorable in retrospect during this age of obvious CGI), the most beautiful visuals, but some ponderous, heavy handed storytelling. without having seen it myself, there are clearly shades of [b]Aguirre: Wrath of God [/b] here in the way the journey plays out. I admire this film for its unique accomplishments, yet cannot help but fault its massive (and testing) 3 and a half hour running time as not just being unncessary, but in some ways pointless. Having read everything that I have about the film so far, I realised I have watched the right film but the wrong version, for [b]Redux[/b] can only be appreciated by those who are in awe of the original film, itself running a modest (by comparison) 2 and a half hours. The additional hour in [b]Redux[/b], featuring a tedious segement where Sheen and his troops bump into a family of French plantation workers (huh?) and meet playboy playmates for a little R&R, does little to help the already bogged down pace.

But the film itself, such as it is, features images that can boggle the mind and shatter the senses. There are sequences of such ethereal beauty that destruction and death are equally made appealing to the eye (war is hell, all war films will tell you, this movie is no different, yet it spreads that message differently). There are segments that don’t make sense; they are not just surreal, but bizzare, dreamlike and totally fascinating. There is nothing conventional about this film - neither its ending, nor its narrative, but it achieves so much, I have difficulty pointing out exactly why. To watch Apocalypse now is to experience the madness, frustration and at the end, the elation of the entire filmaking process. Its 3 year production is now legendary - nearly a year and a half of filming (16 months!), almost the same period for editing and post production, all of it shows in the perfect framing of the visuals. From its hypnotic opening shot - filmed to the compelling guitar work of The doors’ ’The end’, as fitting a song as any to be used in a film - to its muddled, mumbling ending, there has never been (or ever will be) something so incendiary. Despite not having seen the original version, I think had I seen it instead of Redux, it would have (perhaps) easily ranked amongst my greatest filmwatching experiences. This version falls short on those expectations.

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