The main addition, in which Captain Willard (Sheen) and the PBR crew encounter an enclave of French colonials living in a battered, rotting manse far past the spastic contortions of the embattled Dho Lhung bridge, is an eerie set-piece that could be straight out of some Southern Gothic. What about the Redux? Three main segments have been added to this already tumescent film, which - depending on what mood you're in when you see it - either ends up making the whole thing even more bloated and unwieldy, or expands upon and clarifies the original's highly personal vision. It not only blows your mind, it is a blown mind: the end result of so many lunatic, behind-the-scenes mental typhoons that the existing wealth of stories, books, and anecdotes haven't even scratched the surface (as Coppola himself has frequently stated). The real triumph of Apocalypse Now is that, after all these years, it's still the best, most lyrical war film out there. Few, if any, American films so accurately capture the numbing and entropic mindlessness of life during wartime. studio" tale, which only girdled the (semi-)finished product in multiple layers of time-impermeable and well-deserved hype. The epic struggle to complete the project in the first place is a hellacious "man vs. Since its release in 1979, the film has achieved a legendary, almost mytho-poetic glaze. If you've never seen Apocalypse Now, I'll just say that it skews the Vietnam experience through Joseph Conrad's Heart of Darkness, and leave it at that. In this 54-minute-longer “redux” version we're treated to several key scenes that were cut from the original release for various reasons (chiefly in order to abbreviate the film's overlong running time). The filmic fossil record is testament to the man's former - and, sporadically, current - greatness.
Francis, man, what happened to you? No matter. Then come the flames, the Doors, and 196 minutes of some of the finest filmmaking seen before or since.
For filmgoers of a certain age it's a thrilling, heart-quickening sound no other film I know of can elicit such a palpable reaction in its first several seconds with just a snatch of foley work. The hallucinogenic chuk-chuk-chuk of an unseen gunship's rotors is the first sound you hear in Coppola's masterpiece.
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