Apocalypse Now

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Abstract
Wars are a part of our history. Some were necessary while others were not. Francis Ford Coppola’s 1979 masterpiece Apocalypse Now is a perfect illustration of the effects of war. People fought but did not understand why they fought and what they were fighting for. America’s privileged position and its ability to interfere with other states’ affairs are visible. The war was not America’s to fight. The subsequent human rights violations and unnecessary loss of human lives have never been adequately highlighted. The film also offers a broader social and political commentary about the involvement of the United States in America and the differences that exist between it and the affected nations. Eventually, America does withdraw from the war. But this is not before they cause the deaths of thousands and thousands of their own are killed. In the end, it appears to be an unnecessary involvement hinged on ego and a sense of entitlement.
Keywords: Vietnam, war, Apocalypse
Apocalypse Now
During the summer of 1979, Apocalypse Now was released. The studio had postponed the release several times and the film’s director Francis Ford Coppola had edited an immeasurable length of the film. It was apparent that the movie had faced its fair share of challenges during and even after filming. Upon its release, the film was met with mixed reviews. Whereas audiences praised the cinematography, critics opined that the storyline and themes were not only anticlimactic but disappointing as well.

Over time, however, the film has become a cult classic and today, it is considered one of the greatest movies to ever have been made CITATION Hel82 p 418 l 1033 (Hellmann 418). The film takes on a variety of themes including the hypocrisy of the west and their lack of values. It is easy to understand why the film attained cult status.
Western Hypocrisy
The United States of America is very popular for interfering with other nations’ affairs. The nation seems to involve itself with issues that do not concern it. In most instances, it adopts a “self-righteous” approach and seems to convince the rest of the world that it is either doing good or defending itself. However, the consequences of America’s actions are left bare for all to see. The Vietnam War was one such incident. It was painted as a war between South and North Vietnam. However, in truth, it was a war between the Soviet Union and other communist allied nations versus America and anti-communist allies. The film, Apocalypse Now depicts the ironies of the war which included the imperialism that was displayed by America. The death and destruction caused by the direct actions of the USA are apparent in various segments such as the air strike and bridge scenes in which innocent civilians lose their lives. In another scene, Captain Benjamin Willard shoots a woman at point-blank range after members of his crew open fire on a boat filled with locals. All these actions are a testament to the inhumane nature of a country that seems so concerned with the protection of human rights and freedoms. Despite the fact that the soldiers were foreigners in a foreign land, they acted as though it was their home. They terrorized the indigenous natives and opened fire at the slightest provocation.
However, perhaps the most significant hypocrisy of all revolves around the main plot of the film. America uses an exceedingly high amount of resources such as time, energy and money to send in Captain Benjamin Willard to capture and kill one of their ownCITATION Tra16 p 196 l 1033 (Travers 196), William Kurtz who has gone berserk. One would assume that because the country is in the middle of a war, finding and killing Kurtz would be the least of its priorities. Moreover, it makes no sense that Willard would be sent to murder Kurtz for the actions of killing individuals who worked against America. After all, assassinations were fair play in matters war. This is epitomized by Willard’s and Clean’s actions of indiscriminately killing the woman and her family. All these acts demonstrate that America and its soldiers view themselves as privileged and their involvement in the war only epitomized the hypocrisy of western imperialism.
Lack of Values by the West
Apocalypse Now brings to the fore a stark contrast in values between the Vietnamese and American soldiers. The Vietnamese are fighting for freedom and their home. On the other hand, the Americans’ desire nothing more than to go back home. To them home is represented by such things as Playboy models, surfing at the beach and good music. They appear mundane even to Captain Willard who often reflects upon how absurd and empty they are. The American journalists in one of the scenes are also depicted as vain. They give orders and insist that the soldiers should not stare directly at the cameras. It seems strange that journalists would be filming in a war zone. It is also odd and extremely conceited that they wanted to take advantage of the war and make the actions that took place entertainment for those who were in America. At one point, their priorities are shown as warped when Kilgore asks them to either fight or surf. Their contrast in virtues is heightened during a show where Playboy models are brought to dance and entertain. The men want only to get close to the models and touch them. There is a frenzy as everyone tries to make his way to the models. While all of this is going on, the Vietnamese calmly go about with their business and casually eat rice as if nothing is happening.
Apocalypse Now digresses from a popular opinion about America and the Vietnam War. Historically, the country is known and seen as a helper to those who are unable to help themselves. However, the film shows the ugly side of America. The one that sees itself as privileged and that assumes it is a class above everyone else. All this is effortlessly depicted in a film directed by one of the best directors in history.
Works Cited
BIBLIOGRAPHY Hellmann, John. “Vietnam and the Hollywood Genre Film: Inversions of American Mythology in the Deer Hunter and Apocalypse Now.” American Quarterly (1982): 418-439. Document.
Travers, Steven. Coppola’s Monster Film: The Making of Apocalypse Now. Dublin: McFarland, 2016. Print.