Comparing Apocalypse Now In Relation To Frazer's The Golden Bough

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The Creation of God in Apocalypse Now in Relation to Frazer's The Golden Bough

Very rarely do filmmakers intend to create cinematic masterpieces which integrate and draw upon lush literary qualities and leave the viewer with a deeper feeling of life and death than he or she had before viewing the film. Even if some filmmakers do attempt to create a masterpiece, symbolic and complex, many fall short. However, when Francis Coppola created Apocalypse Now, he succeeded in creating a masterpiece, drawing upon the complicated story within Conrad's Heart of Darkness and the savage observations within Frazer's The Golden Bough. The character of Colonel Kurtz in both Conrad's and Coppola's works, is one of a complicated, volatile renaissance …show more content…

Kurtz, as a savage icon, is capable of greatness and is brutally malicious at the same time. Where Coppola strays from Conrad, he does so to show Kurtz's deliberate choice to become a god-like figure and be destroyed in the tradition of the savages. Through the savage beliefs of tabooed head and hair, the slaying of the divine king, and sympathetic magic, Coppola creates a more savagely realistic character in Kurtz.

Perhaps one of Col. KurtzÕs most prominent physical features in Apocalypse Now is his shaven head. Frazer explains that, to the savages, the head and hair of their divine king is tabooed, and "to touch the top of the head, or anything which had been on his head was sacrilege" (Frazer 812). To the savages, their king ranks above everyone and …show more content…

In Apocalypse Now . Kurtz knows that his health may be failing, but rather than slowly wilting away, he chooses a quick, prestigious death. His slaying mirrors FrazerÕs observations of ritual killings of the savages' divine kings. According to Frazer "man has created gods in his own likeness and being himself mortal, he has naturally supposed his creature to be in the same sad predicament" (Frazer 308). This view is perhaps surprising and is directly opposite of the western culture's, which believes that God created man in his own image, rather than man creating his gods. Coppola's Kurtz, being placed as far as possible from western civilization, puts himself in a position of a god amongst the people in Cambodia, and, since he still believes in his own mortality, does not fear or attempt to kill Willard; he almost seems to somewhat welcome him. Frazer even specifically sites customs in Cambodia, and he states that "the mystic kings...are not allowed to die a natural death" (310). To the savages, dying a natural, or illness-induced death, has no glory; it merely shows that a once great king or man-god can dissipate slowly into nothing. Kurtz, who has become a savage, and the other savages who worship him believe that "the man-god must be killed as soon as he shows symptoms that his powers

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