Apocalypse Now vs Heart of Darkness Essay -- essays research papers

Francis Ford Coppolas Apocalypse Now lacks the impact of its inspiration, Joseph Conrads Heart of Darkness. period the basic elements of imperialism and human nature remain intact, the characters of the necessitate bare little resemblance to their literary counterparts. The strike serves as a re-interpretation of Conrads novelette, updated from 19th-century British imperialism in the Congo to a critique of 20th-century U.S. imperialism in Southeast Asia. Coppolas changes in setting and plot structure, however, force the film to sacrifice the character development so crucial in the literary work. This detracts from the over altogether effectiveness of the film.     The most grave difference between novella and film is the development of their main characters, Marlow and Willard, respectively. In Heart of Darkness, the lecturer is introduced to Marlow through and through and through his various philosophical ruminations some imperialism, morality, and human nature. He learns of the mysterious Kurtz through first-hand accounts of his accomplishments and his bizarre behaviour. As Marlow spends more than and more time in the jungle, his pre-occupation with Kurtz becomes an important refuge from the brutality of the Belgians for whom he works. Although critical of the Belgian bureaucracy, it is unclear whether his ire stems from their immoral practices or their incompetence and inefficiency. Conrad never reveals Marlows true feelings, forcing the reader to confront the issues of racism and human nature themselves.      Willard, on the other hand, is a psychological mess from the beginning of the film. The opening scenes depict him confessing his avouch genial imbalances as a result of prolonged service in the Vietnam War. While Conrads Marlow borders on complacency, Coppolas Willard behaves erratically and without reason. His fascination with Kurtz is also little profound than in Heart of Darkness. According to lit erary scholar and picture show aficionado Mark A. Rivera, In Conrad, Marlow is in awe of Kurtz, comes to identify with him in both(prenominal) dark recess of his own psyche Willard, on the other hand, is more impressed with Kurtzs credentials than moved by his force of mind and will.      in spite of the fact that the film is told through Willards eyes, his skewed perception does non affect the films clear moral intentions. Copp... ...e horror") and Kurtzs store for the rest of his life. By turning himself into an enigma, Kurtz has done the ultimate he has ensured his own immortality. Kurtzs status as an enigma serves to propagate an endless spell of interpretations. Could his words be a declaration of the horrific dark military position of man that lives within us all? Could they be a reaction to his first glimpse of the afterlife? Could they be a regretful odor back on a life of sin? Kurtzs uttermost(a) words leave the reader to draw his or her ow n conclusions about their meaning. Conrad does not tell us what to think, he makes us think. That is the sign of cracking art. Those very same words, however, when spoken by Marlon Brando in Apocalypse Now, trammel far less meaning. The fact that Willard makes the decision to kill Kurtz convinces the audience of Kurtzs insanity, and his words can be most literally interpreted as a reaction to his own murder. These words, meant to hold the most impact of all dialogue in either work, serve as an accurate allegory for the works as a whole. Conrads Heart of Darkness forces its reader into meaningful introspection, while Apocalypse Now fails to capture the depth of Conrads vision.