Within the first few minutes of the film, a man is seen in his room in his underwear. A very quick glimpse of his penis can be seen before he sits down and the camera moves.
Towards the end of the film, a nude body is seen hanging from a tree. Male genitals are clearly seen and visible for a couple seconds.
All instances of female nudity are not in the regular movie. Just the redux and final cut.
In the Final cut, there’s a beginning to a sex scene showing a woman’s breasts
Three instances of brief male nudity, as entertainment for the troops Three Playboy Bunnies dances suggestively on a stage, they have tight fit clothing exposing cleavage, no nudity is shown and i’s not too graphic. In the final cut there is one instance of female breast nudity.
If your not watching the redux or final cut of Apocalypse Now, there is only one sexual scene, which involves three playboy bunnies coming to entertain the troops.
The redux has severe sex, the normal version has moderate
A soldier on a boat is bottomless and we see his buttocks
There are several posters of nude women wearing bikinis and exposing bare breasts.
There are some sexual references among the soldiers.
Three Playboy Bunnies entertain a group of soldiers and they dance suggestively in tiny costumes which expose cleavage. Not very long and not graphic.


Film review:Translated by www.rabudo-ru.com


Carve the madness of human nature with dreamy strokes

Revelation, the last chapter of the New Testament, tells the story of the last judgment in Francis Ford Coppola’s Modern Revelation has two meanings: one is Coase’s own trial against the Vietcong, and the other is Willard’s trial against Coase on behalf of the U.S. military. However, as Kotz said, “you can kill me, but you can’t judge me.” In modern apocalypse, the judgment of value has fallen into a state of confusion. It is meaningless to lose the standard value judgment, so what we finally see is the madness of the whole group under the lens of Coppola. Why are we fighting? Plus fallacy: real philosophical thinking is equal to suicide. Therefore, we can either choose death or madness. For the Vietnam War and even for all wars, we can only give such an answer. This is not a pessimistic answer, because although madness is not a good thing, it is far from a bad thing.

The madness of modern Apocalypse lasted almost the whole film. Coppola pulled the film into a madness from the beginning. The close-up of the protagonist Willard’s upside down head, the jungle of Vietnam, the roaring helicopter, the explosion flame, and even the huge stone statue that finally appeared next to the courtroom created by Koz were repeatedly superimposed, as if a thick mud was stirred into his confused memory together with the protagonist’s body. Kopola superimposed the beginning and end of the film, The characters fall into an inescapable cycle, and the music echoes “this is the end, my friend”, “all children are crazy”

Crazy child: Bill playing war Kilgor

With a cowboy hat on his head and a pair of sunglasses in his eyes, he pointed like a Western sheriff. He put a “death Poker” next to each Vietnamese Communist body, but he didn’t forget to drink a pot of water to a dying Vietnamese and shouted, “this man is my warrior!” He was indifferent to the superior task brought by Willard and his party, but when he heard Lance’s name, he went crazy and clamored to take him to surf. Finally, he really carried a group of brothers to a beach controlled by the Vietnamese Communist Party. While throwing bombs and listening to Wagner, the two sides were still fighting, but he sent two people to surf first, Even he took off his coat to go to the sea. Lance and his gang robbed his surfboard. He drove the plane and shouted all over the world, “I just want my surfboard back. You know, it’s not easy to find a good surfboard.” Bill Kilgor is always in a crazy state of fearing neither heaven nor earth. He is neither a murderer nor a humanitarian. For him, this war only has the smell of victory. In addition, is there war in his eyes?

Coppola turned a massacre into a weekend carnival with Wagner’s radical music, the powerful flame of the bomb, the rising water column of the sea, especially the colorful smoke bombs. Coppola uses a large number of panoramic lenses to greatly weaken the cruelty of war. What we see is a huge shock and beauty shown in the war machine as a whole, which is the picture of war in kilgor’s eyes. As a commander, his personality is extremely inflated in the pleasure of power and victory, and all his actions, In peacetime, very normal behaviors were magnified and exaggerated in war. Kilgor’s personal behavior formed a strong contrast with the environment. Coppola deliberately used lyrical writing to describe atrocities, pushing this contrast to an absurd situation.

Crazy group: “rabbit girl” feast

If kilgor is just a crazy case, and kilgor is just presented as a phenomenon under Coppola’s lens, then in the section of “rabbit girl” labor force, the film has begun to show the madness of the whole United States and the social environment in which kilgor exists. This madness deepens with Willard’s going deep into the jungle, Coppola’s technique became more and more dreamy, and the light scheduling began to replace the scene scheduling to write the second chapter of this revelation.

The dazzling point light source in the background fills the whole lens. Under the effect of glare, it is pulled into changeable lines across the picture. The characters are in a relatively dark gap. Coppola doesn’t even highlight anyone’s portrait and posture in this paragraph. Only the “rabbit girl”, human voice and stage lights impress us, because in this place, Real people actually don’t exist. They have no personality, but become crazy symbols. They have no organization, no discipline and are erratic. The decorations on the stage that look like male genitals and the strange lights on the water show the most primitive form of human beings. The subconscious ID breaks through taboos to the greatest extent, There is only sexual desire and destructive desire, and even these two desires have no reason and significance.

At the end of this paragraph, two American soldiers climbed onto the landing gear of the helicopter and were hoisted into the air. It is very similar to the paragraph in which the cow was hoisted into the air by the helicopter. They are all playthings and clowns of war machines. Even the resistance shown by these soldiers and cattle no longer exists. Becoming slaves of the times has become their subconscious behavior. So Coppola gave an elevation when shooting the cow and put the struggling cow alone in the cloudy sky. For these ignorant people, he used a slightly downward perspective. They can never escape this crazy land, so they are so small. They were abandoned by both reality and faith.

Crazy purgatory: America in fierce battle

As a writer of the times, Coppola will not just stay on the surface of things. With the deepening of Willard’s journey, Coppola’s thinking is further deepened. When describing the last U.S. military stronghold in Vietnam, Coppola also used festival lanterns on the lights, but it is no longer a feast for revelers. There are continuous explosions and rising flames, and the whole environment suddenly becomes bright and dark in this explosion. It is difficult for us to see the whole picture of the battlefield, It is also difficult to stay on every face for enough time. This is purgatory. People keep jumping into the water with big boxes and asking Willard for help. The sentence we hear most is: “who is the commander here?” However, no one knows that the US military has lost control and is in a purposeless fight. There is no direct display of the Vietnamese Communist Party. Coppola is not so much to show the hidden fear as to metaphor the irrationality of the war. People either flee or fight aimlessly. The lack of commanders is a complaint against the war initiators, who send young people to the battlefield and then abandon them. People at the center of death don’t know what war is for? In this way, an old question has been raised. Why are we fighting? Coppola actually raised a more realistic question. Since we already know the irrationality of war, why should we immerse ourselves in it?

Crazy Rationality: a lost family

In this paragraph, Coppola expressed his thoughts on the Vietnam war with the debate of a declining French family at dinner. The family is the product of the colony. It misses the glory of the past and deeply tastes the pain of the present. Coppola uses the dim yellow light from the window to show a declining dignity. France had a more unforgettable failure in the war than the United States, which made them start to think about the status quo. There were serious differences at the table, but the most authoritative voice finally said to Willard: “you are fighting for the biggest nothingness in history.” In any case, this group of French have lived in this land for more than 70 years. They have their own roots here, but for Americans, this is a rootless place. The blood of many young Americans has been thrown away in vain.

First of all, Coppola reveals such a fact from the perspective of Americans: the United States is obviously involved in a war that does not belong to itself. There are profound historical reasons for the contradictions between Vietnam, France and China. They are all fighting for themselves, and it is obvious that the United States has made serious mistakes in the balance of interests. The world cannot avoid a war, but the United States can completely avoid a war that does not belong to itself.

Then, Coppola further extended his criticism of the United States to the whole European and American society represented by the white society through the singing of men playing the accordion. And then attributed the cause of the war to countless wrong decisions in history. What these mistakes cause is the loss of a nation, the decline of a nation, and the madness of a nation

Crazy God: the final judgment

In the same smoky water, Coppola slowly opened the mysterious end of Willard’s journey. Following Willard’s subjective lens, we saw a group of people with mysterious totems painted on their faces lined up on the boat on the river, followed by the altar and semi naked bodies hanging on the water. The music was strange and mysterious. Suddenly, Dennis Huber’s reporter greeted the Americans like an entertainment host. Through his mouth, we learned about Colonel Kotz’s position here. Yellow smoke swirled around the altar, which was written “Modern Revelation”, surrounded by the heads of the executed. The sight shocked Willard and his companions. They returned to the ship. Finally, Willard decided to take lance deep into the hinterland of the “Koz kingdom”. He was surrounded by Koz’s “people” on the way. They pressed him into the muddy water and turned the lens on Willard, so the film entered the most classic paragraph.

Willard was taken to Koz’s place. The film uses bronze backlight, side backlight and side light lighting. This kind of lighting with a strong sense of modeling creates a strong sense of primitiveness. Koz’s face was always in darkness at the beginning, and only Brando’s bald head was shrouded in strong light. With the deepening of the dialogue, Koz’s face sometimes partially entered the beam of light, This close-up effect caused by the distance in the middle makes the audience strongly feel Koz’s majesty. When Koz took the water out of the basin with both hands, they seemed to be bathed in the Styx river.

The second contact between Willard and Koz was carried out in a dreamlike environment. Kopola mobilized elements such as rain, mud and face covered with mud or oil paint to create a scene of hell.

The third contact was in the cell. Kopola arranged for Koz to read mainstream American newspapers. Koz squatted at the door. The light of nature “floated” from behind him with the smoke in the air. The lens was full of children. This scene reminds people of heaven. Kotz clearly pointed out that all the lies in the newspaper, and the juxtaposition of heaven, childhood and lies produced a memorable meaning. Kotz’s disappointment with the US military also has a strong irony. He faced Willard in a dark cell, who to some extent represented the American authorities, like a prophet.

After being unconscious, Willard was carried to a room that looked like an ancient Roman castle. The golden light was emitted from various windows. The lighting was still dominated by backlight and side light, but the contrast between light and shade was not as bright as before, but added a faint scattered light to render the smoke and fog in the room. In addition to Willard, Kotz and reporters, other characters have also been cross edited. They either stand there like sculptures, or play Tai Chi calmly, or even just an expressionless face… Here, kopola uses the mouth of the character to express his voice: make friends with fear, otherwise you can only make enemies with him… Use primitive instinct to kill, No feeling, no emotion, no judgment, no judgment… Because judgment will defeat you. ” Coppola expressed his religious views on violence. He did not simply judge the right and wrong of violence, but stood at the height of the whole human group, explaining that violence is a primitive myth.

Perhaps it was these words not to kill with judgment that finally strengthened Willard’s determination. He finally put aside all the rumors and written materials about Koz and carried out the task assigned to him by the military. In fact, he may just kill Koz for his own thoughts.

The play is completely expressionist. Willard slowly emerged from the water, and the golden side light shaped him into a firm statue, which was a Holy Baptism. Coppola used montage to cross clip Willard’s scene of killing Koz and the scene of slaughtering cattle at religious ceremonies, highlighting the theme of sacrifice. It also connects the massacres that exist in our lives today with the most primitive killings, individual killings with group killings, secular killings with religious killings, and excavates the historical origin of the tendency of violence in human hearts. At the same time, the cow also took care of the cow hanging in the sky at the beginning of Willard’s formation, and Koz became a victim of this violence and was pushed to the altar of the times.

Crazy journey: Willard’s mission

In addition to showing crazy sections at different levels, Coppola also shows the process of crazy development through the behavioral and psychological changes of Willard and his party, and how human beings return to the most primitive state step by step from the so-called modern civilization.

In terms of character setting, Coppola deliberately set up several characters with different life experiences to plant a crazy seed in their hearts through their interaction and with the outside world.

The scene of shooting the Vietnamese poor in the film played a great role in their respective personality changes. On the way, the captain was responsible and insisted on strict inspection of a Vietnamese fishing boat. As a result, he mistakenly regarded a Vietnamese woman’s protection of the dog as a counterattack and shot everyone on board. After understanding the truth, they were shocked. In fact, some people had collapsed. Then they found that the Vietnamese woman was still alive, He decided to send the woman to treatment. Willard opposed this behavior of delaying the trip, so he shot and killed her. Coppola’s stroke is very cruel, and this cruel stroke is the adult ceremony of these young people who are not deeply involved in the world. “Fear”, if you don’t make friends with it, you can only make enemies with it. If you don’t use fear as a means, you can only be destroyed by it.

Perhaps fear is an opportunity to connect modern civilization with primitive violence. Make friends with it, you will be crazy; Against it, you will die.

In the darkness at the end of the film, Koz’s deep voice before his death came: “fear… Fear…”

Special statement:

This film review was first published on Douban on December 18, 2006 at 20:24:20, that is, this one. I posted it again on my time blog in 2007. Baidu Encyclopedia copied my film review under its “modern Apocalypse” entry on the grounds of “the original film review is not detailed enough” at 23:35, April 16, 2011 (it was also copied in the behind the scenes gags, which is obviously not GAGs).

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