In this section of our Colossus Movie Guide for Apocalypse Now, we talk about themes that help us understand the film.
Cast
- Martin Sheen – U.S. Army Captain Benjamin Willard
- Marlon Brando – Colonel Walter Kurtz
- Robert Duvall – Lieutenant Colonel William “Bill” Kilgore
- Frederic Forrest – Engineman 3rd Class Jay “Chef” Hicks
- Albert Hall – Chief Petty Officer George Phillips
- Sam Bottoms – Gunner’s Mate 3rd Class Lance B. Johnson
- Laurence Fishburne – Gunner’s Mate 3rd Class Tyrone “Mr. Clean” Miller
- Dennis Hopper – an American photojournalist
- G. D. Spradlin – Lieutenant General R. Corman
- Jerry Ziesmer – Jerry Moore
- Harrison Ford – Colonel G. Lucas
- Scott Glenn – Captain Richard M. Colby
The themes and meaning of Apocalypse Now
The Duality of Man
One of the most prominent themes in Apocalypse Now is the exploration of the duality of man, specifically the conflict between savagery and civilization. The film investigates this concept by positioning its characters in extreme situations that prompt introspection about their inherent nature and moral compass.
The journey up the river towards Kurtz is a journey into the heart of darkness—not just in a geographic or physical sense, but also in a psychological and moral sense. It presents a metaphorical descent into the primal instincts that exist within humanity. Willard, who starts as a disillusioned soldier, must grapple with his growing understanding of the complexities and contradictions of the human condition as he ventures deeper into the jungle.
Kurtz, as a character, encapsulates this duality. He was once a decorated military officer, a paragon of civilized society. However, the brutality and savagery of war push him to discard his previous beliefs and embrace a primitive, tribal lifestyle. He represents the thin line that exists between civilization and savagery, showing how quickly one can descend into the other under extreme circumstances.
This theme is visualized effectively in the film, particularly in the scenes within Kurtz’s compound. The decapitated heads and the ritualistic killing of the water buffalo depict a raw, brutal reality that sharply contrasts with the civilized world from which Willard and Kurtz originate.
The duality of man also extends to the soldiers, whose jovial camaraderie and youthful innocence are interspersed with scenes of rampant destruction and casual violence. They, too, represent the contradiction within man—a capacity for both innocence and brutality.
Whether interpreted as a descent into savagery or a transcendence over darkness, Apocalypse Now offers an uncompromising exploration of the duality of man. It asks probing questions about the nature of humanity, urging viewers to question their own understanding of savagery and civilization.
The Absurdity of War
The second prominent theme in Apocalypse Now is the absurdity of war. The film repeatedly presents war not as a noble endeavor but as an absurd, chaotic, and dehumanizing event. It critiques the bureaucracy and political machinations that often underpin warfare and highlights the destructive effect it has on the human psyche.
The film is replete with scenes that underscore the senselessness and chaos of war. The attack on the Vietnamese village, orchestrated merely so that the soldiers could surf in peace, epitomizes the bizarre juxtaposition of everyday trivialities with the stark reality of violence.
Similarly, the destruction and subsequent rebuilding of the bridge every night is an exercise in futility that serves to underscore the absurdity of the war. This cyclical, pointless act highlights the wastefulness and meaningless nature of the conflict.
Kurtz’s monologues provide a biting critique of the bureaucracy and politics of war. His disillusionment and descent into madness stem from the hypocrisy and absurdity he perceives in the conduct of the war.
The theme of the absurdity of war in Apocalypse Now serves to question the romanticized notion of war. It reveals the chaos, violence, and absurdity that often lurk beneath the veneer of nobility and honor associated with warfare.
The Journey of Self-Discovery
The third theme is the journey of self-discovery, specifically the journey into one’s inner self. As Willard travels upriver towards Kurtz, he is forced to confront not just the physical dangers of the jungle and the war, but also his own psychological and moral uncertainties.
Willard’s journey is a metaphor for introspection and self-understanding. As he learns more about Kurtz and the horrifying actions he has undertaken, Willard is compelled to reflect on his own morality and his role in the war.
The river, as a motif, symbolizes this journey into the self. It serves as a physical and metaphorical pathway leading Willard towards self-awareness and understanding. As he ventures deeper into the jungle and further from civilization, he confronts the darkest aspects of his personality and the horrifying realities of the war.
This theme of self-discovery is culminated in the final scene, where Willard must decide whether to become a new Kurtz or to reject this path of darkness. The choice he makes is emblematic of his journey of self-discovery and his grappling with the moral and psychological complexities of his character.
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