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The Movie:
(film comments are from the original "Redux" review.)
It was only a few weeks ago that I found myself discussing the ability of filmmakers to go back and digitally enhance their pictures simply for the sake of making them a bit slicker and less rough around the edges (which is what seems like the upcoming release of "E.T." is going to be) or using modern technology to both enhance the film visually and smooth out the story structure ("Star Trek: The Motion Picture - Director's Cut). Rarely has their been a "director's cut", at least that I can think of, that alters a film as greatly as "Apocalypse Now: Redux", which adds an additional 49 minutes of footage onto the picture as audiences previously knew it and shuffles around some others. Director Francis Ford Coppola and ace editor and sound designer Walter Murch ("The English Patient") didn't go about this task in simple fashion, either - they went back to the raw footage and assembled this new version of the picture from scratch. Apparently, Ford Coppola ran into trouble with the releasing studio during the film's original production, who wanted to keep the running time under two 1/2 hours, or at least that's what has been said. As that running time seems more ordinary and acceptable today, the idea was brought up to revisit the film and venture deeper into its themes.
The film is written by John Milius and Francis Ford Coppola, based upon Joseph Conrad's novel, "Heart Of Darkness". The film stars Martin Sheen as Captain Willard, whose thoughts we hear on occasion throughout the movie via narration. Early in the movie, he is given a mission - a mission that "doesn't exist": to venture deep into the jungles and terminate Colonel Walter E. Kurtz (Marlon Brando), a brilliant man who has lost his sanity and organized a cult. Yet, the journey up the river is anything but simple.
"Simple" was definitely not a word to describe the production of the picture, either, as it reportedly went far over schedule and considerably over budget. The production occasionally operated in considerably less-than-favorable conditions and Sheen suffered a heart attack. Still, even with the production troubles, Coppola was able to harness incredible performances from his cast, especially Sheen, Robert Duvall and even a very young Laurence Fishburne.
As for "Redux", some of the moments added seamlessly integrate into the picture, while some others (the "French Plantation" scene, a Playboy bunny sequence) start to feel a little much. Still, it's impressive how "Redux", even at nearly 3 1/2 hours, didn't start to feel endless - it moved along at a nice pace, mainly because the film remains so riveting. While reviewing this new edition, I suddenly looked up and noticed that the entire running time had passed in what seemed like an hour.
I'm not sure what to think - I enjoyed watching this version and felt it improved certain areas, but I certainly had no complaints about the original version, which remains an amazing piece of cinema history. Hopefully, Paramount will keep the original DVD version out in stores, so fans can have both, if they so desire (both versions probably could have been available here, although the desire was probably to have each stand alone). For those interested in skipping directly to the added material, Paramount has helpfully added indications of the chapters where it is included in both the insert and the chapter selections menu.
Reportedly, there's even a great deal more footage out there, with subplots that still remain unseen. If anything, "Redux" simply allowed me to see more of Vittorio Storaro's cinematography, which I simply adore - the entire movie is feast of surreal, gorgeous visual after visual. With the newly remastered presentation (done with a technicolor dye process), the film's visuals look more breathtaking and beautiful than ever here.
More often than not, I felt positive about "Redux"; although the new footage was not always effective, the film in either form remains riveting, surreal and fascinating. It's also simply a joy to see something this good. During the past few years, I've found it increasingly more difficult to even make up a "top 10" list for the films I've seen during those previous 12 months. Often recently, I walk out of the theater, largely indifferent to what I've just seen or, occasionally, entertained in a basic fashion. To have my attention held so firmly for 202 minutes, to be so riveted by "Redux", is a pleasure. It is better or worse? It's not always an improvement, but it offers a different and still thrilling and powerful experience.
Note: both editions of the film are included here, but they are spread across both discs.
The DVD
VIDEO: Paramount presents "Apocalypse Now: Redux" in 2.0:1 anamorphic widescreen, as they did with the original version of the film on the film's original DVD release. The film was apparently presented originally in 2.35:1; this different ratio is reportedly the prefered one by cinematographer Vittorio Storaro and director Francis Ford Coppola. I don't really understand why the two simply can't offer the movie in the original framing if they originally released it that way. Ford Coppola's "Tucker: A Man and His Dream" also is altered in this fashion.
Since no complaints (there have been quite a massive amount of them) will likely alter the minds of the filmmakers and have them present the picture as originally seen, I'll move on to discuss the picture quality of this release, which is noticably better than that of the original release of the picture. This "Redux" edition reportedly had prints created from a technicolor process - I didn't see the picture in theaters, so apparently this is a representation of the improved (and, in my opinion, often beautiful) picture quality of the film's recent theatrical run. It would be very nice if Paramount or American Zoetrope would include a booklet about this process or other information about how the reedits were done, but oh well.
Sharpness and detail are exceptional and occasionally quite impressive, as there's not a moment of softness throughout the entire movie. Small details are crisp and well-defined and the entire film looks consistent. The film's cinematography is often breathtaking and is represented wonderfully by this DVD edition.
I saw little in the way of flaws. Given the fact that the film is now about 22 years old, I'd expect some specks and the occasional mark, but all I saw was a speck or two and some minor grain now and then. There's a lot of new releases that I've seen recently whose picture quality doesn't look this pure, clean or natural. Pixelation pops up in a few minor instances, but these instances are hardly noticable and there's no edge enhancement, either.
Colors looked even better in this edition of the film, as they were visibly richer and more vibrant. Colors throughout were well-saturated and often stunning, with no flaws in terms of smearing or other problems. Black level remained strong and flesh tones were natural, as well. Image quality for the original edition does not appear as "fresh" as "Redux" does, but it still looks very good on this edition. Both editions appear to offer the same presentation quality as their prior, separate DVD editions.
SOUND: As with the original edition that was released by Paramount, "Apocalypse Now: Redux" boasts an excellent and often agressive Dolby Digital 5.1 soundtrack. Surrounds are put into impressive use, as the intense moments have the chaotic sounds of war coming full-force, including helicopters that seem to be flying around the listening space. Even the subtler moments have very nice touches of ambience that add to the atmosphere and mood of the movie. Audio quality remained terrific, as the intense moments remained powerful and agressive and the music came through richly and warmly. No hiss, distortion or other problems were found with the soundtrack. An excellent piece of work; although it doesn't stand up to the soundtracks of modern films of the genre ("Thin Red Line", "Saving Private Ryan"), it certainly doesn't miss an opportunity and considering the age of the picture, it's an outstanding effort.
EXTRAS: Director Francis Ford Coppola offers a commentary (and two different intros, one for each version) for both versions of the picture (as for the commentary, same commentary just some extensions for the "Redux" edition.) Once again, Ford Coppola offers a tremendously enjoyable discussion of one of his films. While there are a few pauses of silence scattered throughout the picture, the majority of the film has Coppola actively chatting, discussing such issues as how he ended up being the one to direct, music, cinematography, working with the actors, inspirations, locations, dealing with all of the elements going on in major scenes, not being supported by the US military and more. Coppola's discussion covers just about every aspect of the picture and does so in an enthusiastic and engaging manner. It's an excellent track that's highly recommended for fans.
"The Hollow Men" is the first extra found on the first disc and it offers a reading by Brando of T.S. Eliot's "The Hollow Men". It's an absolutely haunting clip and quite an interesting bonus feature. 13 deleted scenes are offered and while none of them seemed like they should have been left in, it was still nice to have these rare clips included here. "The Birth of 5.1 Sound" is a short featurette that explains the birth of surround sound and how "Now"'s sound mix (we even see an old meeting with Coppola discussing his thoughts on the distribution and exhibition of the picture.) "Ghost Helicopter Flyover" is a featurette discussing and showing the sound design that was done on the opening scene. Finally, the first disc ends with a Technical FAQ and an article on the soundtrack.
The second disc starts off with "A Million Feet of Film: Editing", a nearly 18-minute feature that has Ford Coppola and the film's editors discussing the difficulties of trying to assemble a literal mountain of footage. We learn about rough cuts, deleted footage and trying to create "Redux". "The Music of Apocalypse Now" is a nearly 15-minute piece that looks at the formation of the film's score. "The Sound Design of Apocalyse Now" and "The Final Mix" take a further look at the creation of the film's audio. "PBR Streetgang" offers up a few minutes of comments from actors Laurence Fishburne, Albert Hall, Frederic Forrest and Sam Bottoms about their thoughts on the film years later. "Apocalypse Now: Then & Now" offers some additional reflections from Coppola and Murch. Like the "Streetgang" featurette, it's enjoyable, but surprisingly short. Finally, "The Color Palette of Apocalypse Now" has Coppola, cinematographer Storraro and others discussing the film and printing processes involved. Finally, we get a credits list. An additional feature is the "Redux" marker which, when enabled, points out what is the new material with "Redux".
Missing are the original ending that was included as an extra on the original release, trailers and "Hearts of Darkness" (although that documentary was likely left off due to rights issues.)
Final Thoughts: Although the presentations are not upgraded here, some of the additional bonus features are worthwhile (especially the commentary) and the ability to have both editions together (unfortunately they are spread across both discs instead of each having their own disc) is a plus. Recommended.
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