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Analysis of joseph conrad's heart of darkness
Critical analysis of conrad's heart of darkness
Analysis of joseph conrad's heart of darkness
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Heart of Apocalypse
In 1899, Joseph Conrad wrote the novel Heart of Darkness about Charles Marlow, an explorer who voyaged deep into the Congo of Africa for the retrieval of a sick, ivory trading post manager named Kurtz, and the horrors of his journey. In 1979, Francis Coppola directed his cinematic version of Conrad's novel, entitling it Apocalypse Now. But, the story is changed to fit Coppola’s vision. His rendition is about Captain Willard’s (Martin Sheen) journey to Cambodia during the Vietnam war and his search for Colonel Kurtz, a rogue military man. Though the time, place, and situations are different, Conrad and Coppola both use their separate craft of writing and film to capture close to the same conceptual journey into madness.
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Willard is given a secret mission to assassinate Colonel Kurtz (Marlon Brando), a rogue military leader who went insane and took over a village in Cambodia and become the ruler. Willard has been in the military and fought in the Vietnam War previously; he has seen the horrors of war. Yet, he is drawn to the jungle. Whilst waiting for a mission, Willard say, “ When I was here, I wanted to be there, and when I was there, all I could think about was getting back into the jungle” ( Coppola). Unlike Marlow, in Heart of Darkness, Captain Willard has been to his “Africa” ( Vietnam), yet he has not encountered anything like Colonel Kurtz before. Willard got what he wanted and went back into the war-torn …show more content…
Coppola uses a full shot of Willard with his back turned to the camera as the focal center point of the screen as Willard’s boat moves closer to the natives in the background. The next scene is a close shot of Willard as he walk to Kurtz’s temple and sees severed human heads on stakes and scattered around on the ground. There is no score during these scenes and just ambient sounds set behind the dialogue to maintain the grave tone.
The close shot of Willard’s face after he takes notice is used to convey the crucial seriousness of the situation. Prior to this moment, Willard was reading a file Kurtz; he never knew what Kurtz was capable of and how far gone he was. Willard had just read of the great thing Kurtz had in the military, but seeing the heads in front of the temple, Willard realizes the inanity he has walked in to.
Whilst Conrad’s novel uses humor to exhibit a nonchalant tone, Coppola uses close and full shots, as well as ambient sounds and no score, to convey a more serious tone. Marlow and Willard both knew the dangers of their journey, yet neither expected the horrors they would face and the insanity that is Kurtz. The severed human heads on stakes are symbolic of the madness that encapsulated the Kurtz in the book and in the movie. Through both Heart of Darkness and Apocalypse Now, a loss of humanity is presented through the character Kurtz, in which
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.
In 1979, Francis Coppola released a film that he said he hoped "would give its audience a sense of the horror, the madness, the sensuousness, and the moral dilemma of the Vietnam war" (as quoted in Hagen 230). His film, Apocalypse Now, based on Joseph Conrad's 1902 novel Heart of Darkness, is the story of Captain Benjamin Willard's (Martin Sheen) journey to the interior of the jungle of Southeastern Asia for the purpose of executing his orders to track down Colonel Walter E. Kurtz (Marlon Brando). Once Kurtz is located, Willard is to "terminate his command with extreme prejudice" because Kurtz has raised an army of deserters and natives, whom he rules over like a fanatical war lord- When Willard finally reaches Kurtz's compound and meets him, he discovers a man who has descended into primitive barbarism. From the beginning of their encounter, Kurtz knows why Willard was sent to find him and makes no effort to stop Willard from slaying him with a machete. With his mission accomplished, Willard boards the boat that will take him. back to civilization.
In Kurtz' camp, a site of primitive evil, they are greeted by a crazed, hyperactive, fast-talking, spaced-out free lance photo-journalist played by Dennis Hoper. The babbling combat photographer, garlanded by his camera equipment, hopes for their sake, that they haven't come to take away Colonel Kurtz. He describes the great awe all the natives have for their jungle lord: "Out here, we're all his children." The photojournalist appears to be a fanatical follower of Kurtz, worshipping the enigmatic, genius "poet-warrior" Kurtz as a personal god and expounding Kurtz's cause: "You don't talk to the Colonel, you listen to him. The man's enlarged my mind. He's a poet-warrior in the classic sense...I'm a little man. He's a great man. I should have been a pair of ragged claws, scuttling across floors of silent seas, I mean...He can be terrible. He can be mean. And he can be right. He's fighting a war. He's a great man." He offers first-hand advice from his own experience: "Play it cool, laid back...You don't judge the Colonel." Willard is impressed by Kurtz's power over the people.
...k when Willard aims his blow with machete and then the spectator sees the ritual slaughter of a cow with machete too. The camera does not show the details of Kurtz’s murder; instead it depicts in detail the ghastly killing of the animal. The shots go back and forth because they are interwoven by the meaning, and the cow symbolizes Colonel Kurtz. The audience’s sympathy now is with Kurtz.
One of the many similarities between Heart of Darkness and "Apocalypse Now" is race. Joseph Conrad and Francis Coppola both use white men as the characters that have dominance (Bradley). The white men not only dominate their respective crews, but also the peoples native to the country the white men are visiting. The character Conrad uses, Marlow, and Coppola uses his character, Willard, both look at the natives as though white men are the civilized culture and the native people are the savage culture (Franklin). Both works also reflect the theory that "civilized" white men that go into an uncivilized land become savage and do not return to white civilization. An example of this that is in the book is MarlowÕs appointment with the doctor. The doctor measures Marlow's skull to compare its size at the present time to the size of his skull upon his return from the Congo. The thought is that a civilized manÕs skull is a different size than a savage's skull. When Marlow asks the doctor how what the results of this test have been in the past, the doctor comments that there are none because no civilized person has ever returned from the Congo. An example of this in the movie is when Willard faces his own personality of whether or not to complete his soldierly mission of killing Kurtz or to abort it. If he completes the mission he is still civil, if he does not, the Vietnam jungle has conquered him. The first soldier that is sent to kill Kurtz did not kill Kurtz, but in fact became one of his followers.
Books and movies present stories in different ways because the medias are incredibly different. In the story Heart of Darkness, the author takes the motif of the journey and presents it in the third person in a way that people could understand with the topic of the spread of culture in the “third world.” Apocalypse Now shows the journey in a completely different way. It is made into a first person narrative and is changed from colonization to the modern day equivalent of the Vietnam War. Both ways of showing the story keeps the main idea of the journey both inside and outside, but the way of presenting it is very different.
In Heart of Darkness, all of Joseph Conrad’s characters seem to have morally ambiguous tendencies. The most prominently morally ambiguous character is Kurtz, whose distance from society changes his principles, and leads him to lose all sense of decorum. Conrad takes a cynical tone when describing Marlow's journey. Marlow's voyage through the Congo gives him insight to the horrific, dehumanizing acts that his company and Kurtz conduct. Conrad creates a parallel with the tone of his writing and the misanthropic feelings that the main character experiences. Furthermore, Conrad creates a frame story between Kurtz and Marlow, adding to the symbolism and contrast between contextual themes of light and dark, moral and immoral, and civilization and wilderness. After being sent on a horrific journey into the Congo of Africa, as an agent for the Company to collect ivory, Marlow finds the infamous and mysterious Kurtz. Kurtz, who has totally withdrawn from society, and has withdrawn
This shows how Willard is focused only on completing his mission and that he is willing to sacrifice the safety of the crew. Another important factor in the leading up to the death of the helmsman is the cries of the native people, which are heard by the crew and serves to unsettle them even further. In Heart of Darkness, the cries of the natives make the crew question if they will be attacked or not. Marlow makes the mistake of thinking that the “anguished” cries of the natives are a signal that they will not attack. This causes Marlow to drop his guard and when the attack does come, he slowly realizes this.
"Heart of Darkness , which follows closely the actual events of Conrad's Congo journey, tells of the narrator's fascination by a mysterious white man, Kurtz, who, by his eloquence and hypnotic personality, dominates the brutal tribesmen around him. Full of contempt for the greedy traders who exploit the natives, the narrator cannot deny the power of this figure of evil who calls forth from him something approaching reluctant loyalty."[1]
“Under an overcast sky — seemed to lead into the heart of an immense darkness.” This is the last line of the book Heart of Darkness and it summed up the setting and tone of the book. Apocalypse Now is an epic war film made in 1979 set in Vietnam directed by Francis Ford Coppola. It is based on the book Heart of Darkness. The settings of both the book and the movie are very different; they take place in completely different places. However, their effects are very similar to each other and shown in a variety of ways: in character development, cultural aspects, as well as thematically.
As to the character of Kurtz, it is worth noting that while significant discrepancies exist between the depictions of Conrad and Coppola, the basic nature of the man remains fairly similar. The idea of company man turned savage, of a brilliant and successful team-player, being groomed by "the Company" for greater things, suddenly gone native, is perfectly realized in both novella and film. In the film, Kurtz is portrayed by Marlon Brando, the father of American method actors, who lends weight (both physically and dramatically) to the figure of the megalomaniacal Kurtz. Brando's massive girth is all the more ironic for those familiar with Heart of Darkness who recall Conrad's description: "I could see the cage of his ribs all astir, the bones of his arms waving.
Willard and Colonel Walter E. Kurtz are considered main characters. Captain Willard’s mission is to kill Colonel Kurtz, who is running rampant along towns in Cambodia. Captain Willard is best described in military terms as a “salty war-hero”, meaning that he has tremendous experience in war. Captain Willard is initially presented going through a traumatic panic attack where flashbacks from his previous deployments come to haunt him. Personally, Captain Willard’s best quote was spoken during this time in Saigon, “When I was here, I wanted to be there; when I was there, all I could think of was getting back into the jungle” (Coppola). This quote reigns for many War Veterans to this day. War is horrific, but an individual who has been there likely misses something about it. Throughout most of the film, Captain Willard portrays a quiet, in the shadows demeanor; however, observant and lethal. He eventually completes his mission when he killed Colonel Kurtz near the end of the film. Colonel Kurtz is comparable to a modern-day cowboy, who lives by his own rules. Although he is seen as savage in his duties, most of his soldiers respect him for being genuine. Colonel Kurtz appeared to be an exceptional leader for his men with a tremendous ability to boost his soldier’s morale and motivation. Despite these positive qualities, Colonel Kurtz has the wrong priorities, which led him to be targeted for death. Although the two main characters surround the storyline, each lower-ranked soldier had their own unique characteristics. These soldiers help the audience feel as if they’re experiencing the war themselves alongside this large group of
Heart of Darkness and Apocalypse Now & nbsp; Heart of Darkness, a novel by Joseph Conrad, and Apocalypse Now, a movie by Francis Ford Coppola can be compared and contrasted in many ways. By focusing on their endings and on the character of Kurtz, contrasting the meanings of the horror in each media emerge. In the novel the horror reflects Kurtz's tragedy of transforming into a ruthless animal. The film The Horror has more of a definite meaning, reflecting the war and all the barbaric fighting that is going on. & nbsp;& nbsp;& nbsp;& nbsp;& nbsp;& nbsp;& nbsp;& nbsp Conrad's Heart of Darkness, deals with the account of Marlow, a. narrator of a journey up the Congo River into the heart of Africa, into the jungle, his ultimate destination. Marlow is commissioned as an ivory agent.
Both Marlow and Captain Willard were fully warned and well aware of the evils each would encounter. However he chooses to ignore this aspect in hopes of satisfying his curiosity. His curiosity about the unknown realm drives him to cross the line between civilized human behavior and enters a nightmarish world. In this nightmare world he realizes the horror of human nature as he sees over the edge of sanity and discovers what he could become, Kurtz.
Both Conrad’s, “Heart of Darkness”, and Coppola’s, “Apocalypse Now”, profoundly illustrate the journey of man into their inner self and man’s encounters with their insanity, fears and demise. The novella and film are comprised of numerous pivotal themes that facilitate the understanding of the deeper meaning of both works. Fundamentally, theme is an extensive message or idea expressed by an author and is a crucial element of literature since it sheds light on universal concepts. The most striking parallels that can be formulated when comparing themes in both the novella and the film are associated with human nature. Specifically, Conrad and Coppola incorporate theme of hypocrisy in order to portray man’s incredible potential for evil.