Francis Ford Coppola’s Apocalypse Now lacks the impact of its inspiration, Joseph Conrad’s Heart of Darkness. While the basic elements of imperialism and human nature remain intact, the characters of the film bare little resemblance to their literary counterparts. The film serves as a re-interpretation of Conrad’s novella, updated from 19th-century British imperialism in the Congo to a critique of 20th-century U.S. imperialism in Southeast Asia. Coppola’s 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 overall effectiveness of the film.
The most important difference between novella and film is the development of their main characters, Marlow and Willard, respectively. In Heart of Darkness, the reader is introduced to Marlow through his various philosophical ruminations about 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 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 displeasure stems from their immoral practices or their incompetence and inefficiency. Conrad never reveals Marlow’s 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 own mental imbalances as a result of prolonged service in the Vietnam War. While Conrad’s Marlow borders on complacency, Coppola’s Willard behaves erratically and without reason. His fascination with Kurtz is also less profound than in Heart of Darkness. According to literary scholar and cinema aficionado Mark A. Rivera, “In Conrad, Marlow is in awe of Kurtz, comes to identify with him in some dark recess of his own psyche; Willard, on the other hand, is more impressed with Kurtz's credentials than moved by his force of mind and will.”
Despite the fact that the film is told through Willard’s eyes, his skewed perception does not affect the film’s clear moral intentions. Copp...
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...e horror!'") and Kurtz's memory for the rest of his life. By turning himself into an enigma, Kurtz has done the ultimate: he has ensured his own immortality.” Kurtz’s status as an enigma serves to propagate an endless number of interpretations. Could his words be a declaration of the horrific dark side of man that lives within us all? Could they be a reaction to his first glimpse of the afterlife? Could they be a regretful look back on a life of sin? Kurtz’s last words leave the reader to draw his or her own conclusions about their meaning. Conrad does not tell us what to think, he makes us think. That is the sign of great art. Those very same words, however, when spoken by Marlon Brando in Apocalypse Now, hold far less meaning. The fact that Willard makes the decision to kill Kurtz convinces the audience of Kurtz’s 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 metaphor for the works as a whole. Conrad’s Heart of Darkness forces its reader into meaningful introspection, while Apocalypse Now fails to capture the depth of Conrad’s vision.
This bureau was to provide freed slaves and white refugees with food, clothing, medical care, and education. The first three parts made the bureau a sort of welfare system. However, the primary focus was educating the freed slaves. After the law was passed, hundreds of white women from the north came down south to teach at schools dedicated for freed slaves. Nearly 200,000 freed slaves learned to read because of the Freedmen 's Bureau. All these freed slaves being taken care of in this way obviously supported reconstruction. However, not everything went as planned. This law was supposed to give freed slaves their own land. Many of the freed slaves did not achieve land, or even a new job. Many of them became sharecroppers, which is just performing their slave jobs for the old master for very little pay. This sharecropping technique barely hurt many slave owners, and this was one of the main causes of restoration.
While there are differences between Francis Ford Coppola’s film, Apocalypse Now!, and Joseph Conrad novel, The Heart of Darkness, Kurtz and his influence on the main character remain very similar. Both the movie and novel depict a protagonist’s struggle to travel upstream in a ship in search of a man named Kurtz. While doing so, Marlow (The Heart of Darkness)/Willard (Apocalypse Now!) become progressively fascinated with Kurtz. Kurtz is claimed to have a profound influence on his followers and is becoming a huge influence on Marlow/Willard as well.
The most difficult part of any modern theological debate is choosing the authority. With the variety of Christian denominations, individual thinkers, and outside influences, and it is often difficult to reach a general agreement. In her essay, “Homosexuality: A Case Study in Moral Argument,” Catholic theologian Lisa Cahill examines four major authorities and different ways to determine how they work together to produce a cohesive Christian ethic. Though she fails to give a definitive, quantifiable method of describing the interactions between the authorities, her final judgment, approval of some aspects of homosexuality, indicates that she values modern cultural context and general biblical themes over church tradition and specific biblical texts.
Kurtz in both works is surprising very similar; in Apocalypse Now Walt Kurtz is a Colonel in the United States Army. Kurtz is a highly recognized and admired military officer, "Walt Kurtz was one of the most outstanding officers this country has ever produced. He was a brilliant and outstanding in every way…” and has a very successful career in the army (Coppola 1979). The Kurtz in Heart of Darkness is a successful business man, politician, and explorer. This Kurtz wears the mask of many faces but all the characters that mention Kurtz treat him like a god. It’s these traits that cultivate curiosity within Marlow and Captain Willard. Ma...
Bonhoeffer, Dietrich, ed. Readings in Christian Ethics: A Historical Sourcebook. Edited by J. Philip Wogaman and Douglas M. Strong. Louisville, KY: Westminster John Knox Press, 1996.
It is not uncommon for citizens, particular store or business owners to show their gratitude to officers by offering free cups of coffee, free meals, or discounts in exchange for their attentiveness and presence at the store. While the giving of a free cup of coffee may be an innocent gesture and certainly is not the sole contributor to ethical violations, or police corruption, the expectation, by the storeowner, of something in return is what establishes a “slippery slope” (Cheeseman, 2011). What makes a gift a gratuity is the reason it is given; what makes it corruption is the reason it is taken. The acceptance of even the smallest “perks,” such as free coffee, is problematic because it changes the mindset of officers. The slippery slope is corruption that begins with harmless, well intentioned practices and leads, over time, to all manner of crimes-for-profit (Delattre, 2004). If the reason the gratuity is given and taken leads to favoritism, impartiality, and prejudice, then this begins the downward spiral of unethical behavior.
Heart of Darkness written by Joseph Conrad and "Apocalypse Now" a movie directed by Francis Coppola are two works that parallel one another but at the same time reflect their own era in time and their creator's own personal feelings and prejudices. "Apocalypse Now" was released in 1979 after two years in the making, as Coppola's modern interpretation to Joseph Conrad's novel, Heart of Darkness (Harris). Conrad's book is an excellent example of the advances writers and philosophers made in the nineteenth and early twentieth centuries. This advance deals with civilized humanity's ability to be prepared for and know the unknown. (Johnson) Comparatively, Copolla's movie does the same in the late 1970's. "Apocalypse Now" dares to breach the edges of soldier sanity in a stressful and protested Vietnam War.
Sin is defined as a transgression of a religious or moral law especially when deliberate. In The Scarlet Letter by Nathaniel Hawthorne one of the main points in the book is relating to sin and how it can affect people. Hawthorne uses several methods to convey the nature of sin through his characters and symbolism in The Scarlet Letter. The scarlet A on the chest of Hester Prynne and Hester herself represent known sin. She commits adultery and is caught. The A is her punishment as well as a reminder to her about sinning. The child of sin and Hester is named Pearl. She symbolises the product of sin and sin itself. The third member of the sinning perty is Dimsdale. He is loved and treated with respect by the towns people. No one but him knows that he too has sinned. Hawthorne uses that character to represent hidden sin and guilt. Three different aspects of sin represented by three different characters in The Scarlet Letter.
Nathanial Hawthorne, an American author during the 19th century witnessed the power of sin to wreak havoc not only to an individual but a whole community. His novel The Scarlet Letter expresses this very idea by exposing the follies of mankind and the potentially detrimental effects of sin trough Hester Prynne, Reverend Arthur Dimmesdale, and Roger Chillingworth who all affected by sin in different ways. Utilizing powerful symbols and light/dark imagery, Hawthorne conveys to the readers, through these characters, the power of how one’s response to sin can positively change an individual or gradually destroy one by spreading like a contagious disease and ultimately consuming the victim.
In Joseph Conrad’s short story, “Heart of Darkness,” the narrator, Marlow language, and point of view to convey the conflicting emotions he has about Kurtz due to the image he fabricated Kurtz to be, and the reality of Kurtz. Marlow’s language throughout the piece reveals to the reader how he feels about Kurtz and how he perceives Kurtz’s actions. Marlow’s point of view also allows him to support both of his perceptions of Kurtz because he doesn’t see only bad or only good in
In the opening scenes of the documentary film "Hearts of Darkness-A Filmmaker's Apocalypse," Eleanor Coppola describes her husband Francis's film, "Apocalypse Now," as being "loosely based" on Joseph Conrad's Heart of Darkness. Indeed, "loosely" is the word; the period, setting, and circumstances of the film are totally different from those of the novella. The question, therefore, is whether any of Conrad's classic story of savagery and madness is extant in its cinematic reworking. It is this question that I shall attempt to address in this brief monograph by looking more closely at various aspects of character, plot, and theme in each respective work.
One of the main themes in The Scarlet Letter is that of the secret. The plot of the book is centered on Hester Prynne’s secret sin of adultery. Nathaniel Hawthorne draws striking parallelism between secrets held and the physical and mental states of those who hold them. The Scarlet Letter demonstrates that a secret or feeling kept within slowly engulfs and destroys the soul such as Dimmesdale’s sin of hypocrisy and Chillingworth’s sin of vengeance, while a secret made public, such as Prynne’s adultery, can allow a soul to recover and even strengthen.
Francis Coppola’s movie Apocalypse Now was inspired by the world famous Joseph Conrad novel Heart of Darkness. A comparison and contrast can be made between the two. Both have similar themes but entirely different settings. Heart of Darkness takes place on the Congo River in the Heart of Africa, while Apocalypse Now is set in Vietnam.
Stone, Tanya Lee. The Good, the Bad, and the Barbie: A Doll's History and Her Impact on Us. New York: Penguin Group, 2010. Print.
When considering morality, worthy to note first is that similar to Christian ethics, morality also embodies a specifically Christian distinction. Studying a master theologian such as St. Thomas Aquinas and gathering modern perspectives from James Keenan, S. J. and David Cloutier serve to build a foundation of the high goal of Christian morality. Morality is a primary goal of the faith community, because it is the vehicle for reaching human fulfillment and happiness. Therefore, great value can be placed on foundations of Christian morality such as the breakdown of law from Aquinas, the cultivation of virtues, the role of conscience in achieving morality, and the subject of sin described by Keenan.