“When a great artist in one medium produces a work based on a masterpiece in the same or other medium, we can expect interesting results” (E. N. Dorall: Conrad and Coppola: Different Centres of Darkness).
In his essay The Rethoric of Narrative in Fiction And Film, film critic Seymore Chatman observes that
‘a lot of ink has been spilled in recent years on film adaptations of novels (…). Too much of the discussion has centred on questions of story content, with particular respect to ‘fidelity’, as if the source novel were some sacrosanct object whose letter as well as spirit the film had to follow.’
He continues that this approach ‘often leads to an unproductive prescriptivism that finds the film inadequate because it does not ‘read’ like the novel’. It seems that John Milius and Francis Ford Coppola who both wrote the screenplay for the movie Apocalypse Now, had the same thoughts in mind when they decided to adapt Conrad’s novel Heart of Darkness -as Milius stated himself – ‘in some shape or form’. They certainly did not want to spill any ink and he also did not see the novel as a sacrosanct object. Apocalypse Now is not a conventional film adaptation of Conrad’s novel since -at least at first glance- it does not pay particular respect to ‘fidelity’; a Vietnam war movie does not seem to have much in common with a novel written in 1898 and dealing with colonialism. However, it is said that HD can be seen as the ‘root’ for AN, because ‘a seventeen-year old John Milius heard his English reader, Irwin Blackter, extol the splendour of Conrad’s novel Heart of Darkness”. And if we take a closer look at the movie, the parallels to Conrad’s novel become obvious. This essay will be divided into two major parts. The first one of will focus on the comparison of the plot and narrative structure of HD and AN. It will establish a general overview of the formal aspects of novel and film as well as of the similarities of characters appearing in both HD and AN. Special attention will be paid to the symbolic value of the plot of the story- the metaphorical meaning of darkness- appearing in both Conrad’s novel and Coppola’s movie and the question of how and why the screenplay-writers of AN applied Conrad’s ideas on their film adaptation. The second part will be with special focus on Coppola’s film adaptation of Conrad’s novel. The analysis of several scenes will pay special attention to details of techniques for visualisation and sound used by Coppola to depict the plot.
Inhaltsverzeichnis (Table of Contents)
- I. Introduction: A question of fidelity
- II. Heart of Darkness and Apocalypse Now
- 1. The plot structure of Heart of Darkness and Apocalypse Now
- 2. The Characters of Marlow, Willard and Kurtz
- 3. The rivers as symbols for the inner journey
- 4. The Heart of Darkness within: the metaphorical meaning of darkness in the novel
- III. The Language of Film: Signs and Syntax
- 1. The syntax of film: Mise-en-scène and Montage
- 1.1. Mis-en-scène
- 1.2. Montage
- IV. Film analysis with special focus on the implication of darkness
- 1. The beginning
- 2. River sequence: The Mekong Delta
- 3. The air raid of Vin Drin Dop
- 4. Du Lung Bridge
- 5. River sequence: The arrow attack
- 6. The Kurtz Compound
- V. Conclusion
- VI. Works cited
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay analyzes Francis Ford Coppola's *Apocalypse Now* as an adaptation of Joseph Conrad's *Heart of Darkness*, focusing on the thematic and structural parallels between the novel and the film. It explores the concept of "fidelity" in adaptation, examining how Coppola recontextualizes Conrad's narrative within the Vietnam War. The essay also investigates the symbolic use of darkness and the river as metaphors for inner journeys and the destructive nature of colonialism and unchecked power. * Comparison of plot structure and narrative techniques in *Heart of Darkness* and *Apocalypse Now*. * Analysis of character parallels between Marlow and Willard, and Kurtz's representation in both works. * Exploration of the symbolic significance of darkness and the river journeys. * Examination of Coppola's cinematic techniques in visualizing and conveying themes. * Discussion of the overarching themes of colonialism, power, and the corrupting influence of unchecked ambition.Zusammenfassung der Kapitel (Chapter Summaries)
I. Introduction: A question of fidelity: This introductory chapter establishes the central argument: that *Apocalypse Now* is not a straightforward adaptation of *Heart of Darkness* but a reimagining that recontextualizes Conrad's themes within the Vietnam War. It challenges the notion of "fidelity" in film adaptations, arguing against a purely literal approach and highlighting the creative liberties taken by Coppola and Milius. The chapter sets the stage for a comparative analysis of the two works, emphasizing their shared exploration of power, colonialism, and the human psyche. It introduces the key question of why Conrad's story, set in a different era, resonates so powerfully in Coppola's Vietnam War setting. II. Heart of Darkness and Apocalypse Now: This section delves into a detailed comparison of the two works. It begins by analyzing the plot structures of both *Heart of Darkness* and *Apocalypse Now*, highlighting parallels and divergences. The chapter further explores the character similarities between Marlow and Willard, and the complex figure of Kurtz, demonstrating how both authors use similar character archetypes to explore themes of darkness and moral decay. The symbolic importance of the river journeys is investigated, showing how they function as both literal and metaphorical pathways into the heart of darkness, both geographical and psychological. The chapter concludes by discussing how Conrad's critique of colonialism finds an echo in Coppola's depiction of the American involvement in the Vietnam War. III. The Language of Film: Signs and Syntax: This chapter focuses on the cinematic techniques employed by Coppola to visually translate the themes of *Heart of Darkness*. It explores the use of mise-en-scène and montage, demonstrating how these techniques contribute to the film's overall atmosphere and meaning. The chapter examines how Coppola uses cinematic language to create a sense of unease, paranoia, and the descent into madness, mirroring the psychological journey of Willard as he progresses upriver. It analyzes how the visual and auditory elements of the film enhance and extend the themes explored in Conrad's novel. IV. Film analysis with special focus on the implication of darkness: This chapter provides a detailed scene-by-scene analysis of *Apocalypse Now*, focusing on how Coppola uses visual and auditory elements to depict the "implication of darkness." It examines specific sequences, such as the river journey and the Kurtz compound, to illustrate Coppola's cinematic strategies in conveying themes of horror, chaos, and the disintegration of morality. This analysis delves into the specific cinematic techniques used to portray the descent into the heart of darkness, both literally and metaphorically, and how these scenes parallel or contrast with those in Conrad’s novel.Schlüsselwörter (Keywords)
Heart of Darkness, Apocalypse Now, film adaptation, colonialism, power, darkness, symbolism, river journey, Marlow, Willard, Kurtz, Vietnam War, cinematic techniques, mise-en-scène, montage, moral decay, psychological journey.
Frequently Asked Questions: A Comparative Analysis of *Heart of Darkness* and *Apocalypse Now*
What is the main focus of this essay?
This essay analyzes Francis Ford Coppola's film adaptation, *Apocalypse Now*, as a reimagining of Joseph Conrad's novel, *Heart of Darkness*. It examines the thematic and structural parallels, exploring the concept of "fidelity" in adaptation and how Coppola recontextualizes Conrad's narrative within the Vietnam War setting.
What are the key themes explored in the essay?
The essay explores several key themes including the comparison of plot structure and narrative techniques in both works, analysis of character parallels (Marlow/Willard and Kurtz), the symbolic significance of darkness and the river journeys, Coppola's cinematic techniques, and overarching themes of colonialism, power, and the corrupting influence of unchecked ambition.
How does the essay approach the concept of "fidelity" in adaptation?
The essay challenges the notion of strict fidelity in film adaptations, arguing that *Apocalypse Now* is not a literal translation but a creative reimagining. It emphasizes the creative liberties taken by Coppola and Milius and highlights how they recontextualize Conrad's themes within the Vietnam War.
What is the significance of the river journey in both *Heart of Darkness* and *Apocalypse Now*?
The essay analyzes the symbolic importance of the river journeys in both works. It demonstrates how the rivers function as both literal and metaphorical pathways into the "heart of darkness," representing both geographical and psychological journeys into the depths of human morality and the destructive nature of power.
How does the essay analyze Coppola's cinematic techniques?
The essay delves into Coppola's cinematic techniques, focusing on mise-en-scène and montage. It explains how these techniques contribute to the film's atmosphere, meaning, and the conveyance of themes such as unease, paranoia, and descent into madness, mirroring Willard's psychological journey.
What specific scenes from *Apocalypse Now* are analyzed in detail?
The essay provides a detailed scene-by-scene analysis of *Apocalypse Now*, focusing on key sequences such as the river journey, the air raid on Vin Drin Dop, Du Lung Bridge, the arrow attack sequence, and the Kurtz compound. These analyses demonstrate how Coppola uses visual and auditory elements to depict the "implication of darkness."
What are the main character comparisons made in the essay?
The essay compares and contrasts the characters of Marlow and Willard, and explores the complex figure of Kurtz in both *Heart of Darkness* and *Apocalypse Now*, highlighting how both authors use similar character archetypes to explore themes of darkness and moral decay.
What is the overall conclusion of the essay?
While the essay doesn't explicitly state a singular, conclusive statement, it implicitly argues that *Apocalypse Now* serves as a powerful and successful reinterpretation of *Heart of Darkness*, effectively translating Conrad's themes into a new context while maintaining the core message of the dangers of unchecked power and the corrupting influence of colonialism (or in the film's case, unchecked military intervention).
What keywords are associated with this analysis?
Heart of Darkness, Apocalypse Now, film adaptation, colonialism, power, darkness, symbolism, river journey, Marlow, Willard, Kurtz, Vietnam War, cinematic techniques, mise-en-scène, montage, moral decay, psychological journey.
- Citation du texte
- Silke Weishaupt (Auteur), 2003, Conrad and Coppola and the Heart of Darkness Within:The Symbolic Value of Darkness in Heart of Darkness and Apocalypse Now, Munich, GRIN Verlag, https://www.grin.com/document/24189
