In the original version, when Willard breaks off from the PBR crew at the Do Lung Bridge and is asked where he's going, he says "I gotta find somebody. I need some information. A longer director's cut, titled "Apocalypse Now Redux", debuted on 11 May at the Cannes film festival. This cut was re-edited by Coppola and Walter Murch and features a new Technicolor dye prints with additional footage originally left out of the theatrical release.
The new version is minutes long 53 minutes longer than the original version. The restored footage also includes the French plantation scenes with Aurore Clement and Christian Marquand, as well as scenes from the crew meeting the Playmates later on. There are additional scenes when the crew is with Kilgore.
During the napalm strike, he helps a wounded Vietnamese child. The napalm strike has ruined the favorable surfing conditions, so Lance and the others leave, much to Kilgore's dismay. Before they leave, Willard steals Kilgore's surfboard.
Finally, just before Willard and Chef leave the boat to search for mangoes, a helicopter files by with Kilgore on loudspeaker, asking for his surfboard back. For the Final Cut version, an exchange between Willard and Chef is removed "How am I going to shoot him next time he comes around? In the Playmate scenes, Willard trades two drums of oil in exchange for spending two hours with the Bunnies. Miss May was once a bird trainer at Busch Gardens and tries to talk about birds with Chef while he is busy trying to get her to re-enact her photo that he showed the crew.
They end up kissing and Miss May gets excited because Chef kisses like a bird. The Playmate of the Year is talking to Lance about her troubles and insecurities about being a Playmate.
Clean is seen trying to barge in on both men, and when he barges in on Lance, the Playmates open a chest in which to hide and discovers a dead Vietnamese. Lance comforts her.
Chef finds out afterwards that Clean is a virgin and starts calling him names on the boat. Willard told Chief that the whole crew can spend time with the Bunnies, but Chief refuses. This sequence was removed from the 40th Anniversary Final Cut version. At the plantation, Chef figures that they are French first and tells them in French that they are Americans and are friends.
They bury Clean with his tape player there, and eat dinner with the French. The crew eats with the staff, and Willard eats with the family. Chef wants to speak to the chef but is informed he only speaks Vietnamese. Willard is lectured about France's colonial history in Indochine as well as their military blunders.
There also is a scene with Willard and Roxanne, one of the French women, smoking opium. In the Final Cut version, all of the political-related dialogue have been relegated to the background removed , as well the earlier introduction of De Marais and some of the boat shots earlier including an early glimpse of the Reporter so that the focus is more on Willard and Roxanne.
At the Kurtz compound, Willard is imprisoned in an oven-like box. Kurtz appears, accompanied by a group of children. He reads to Willard from Time magazine articles about the Vietnam War. This scene was removed from the 40th Anniversary Final Cut version. When the film premiered in a limited 70mm format, it had no beginning or end credits, nothing but a one-line Omni Zoetrope copyright notice at the end.
Programs were passed out to theatre goers in lieu of any credits this ending was used for the theatrical cut featured on the Blu-Ray release.
When the film went into its wide release its format was 35mm. This version included end credits rolling over surrealistic explosions and burning jungle, showing the Kurtz compound being destroyed included as a deleted scene on the Blu-Ray release, with optional commentary from Coppola. When Coppola heard that people were assuming that the explosions during the end credits of the 35mm version meant that an air strike had been called in on the Kurtz compound which is not what he wanted audiences to think he quickly re-edited the 35mm version to have the end credits rolling over a simple black background and a slightly altered musical score.
Sam Bottoms as Lance B. Laurence Fishburne as Tyrone 'Clean' Miller. Albert Hall as Chief Phillips. Harrison Ford as Colonel Lucas. Dennis Hopper as Photojournalist. Reviews Apocalypse Now: Final Cut. Glenn Kenny August 14, Glenn Kenny Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. Now playing. Army of Thieves Brian Tallerico. Only the Animals Peter Sobczynski. Redux disrupted the original film's ecology and created a bloated, slow, and uneven film that is much worse than the one audiences were already familiar with.
Another version of Apocalypse Now has floated around over the years: a bootleg copy of the film's first assembly cut. An assembly cut is the very first edit of a film, which features every scene that was shot and is intended only for the creative team to view before they move on to a rough cut version of the film.
Apocalypse Now 's assembly cut leaked for a time and was spread around on video tape. It came in at a behemoth minutes long and included material not featured in any other cut of the film. For the 40th anniversary of the film, Coppola decided not only to oversee a brand-new restoration of Apocalypse Now but also to create a brand-new cut.
He took in the criticisms of the Redux version and crafted a new version that trimmed back many of the added scenes or cut them out again entirely. This version, coming in at about minutes long, paid much more attention to the ecology of the film and works much better than Redux.
What was even more exciting about the Apocalypse Now Final Cut was that the new 4k transfer was made from the original film negative rather than the interpositive used all previous transfers of the film, so the Final Cut is definitely the best-looking of all the versions and is the one that Coppola himself is most proud of. While the Apocalypse Now Final Cut is a step up from the Redux , and some consider it on the same level as the original, the first theatrical cut will always be the definitive version and is the tightest and most focused edit, though no less bizarre even with the stranger sequences cut out.
That being said, Coppola's new cut is still a fascinating companion piece to the original and Coppola has made all versions of the film easily available to the public, even packaging the theatrical version and Redux together in DVD releases. Something similar may happen with the Final Cut as could new restorations of older cuts. The theatrical cut of Apocalypse Now is the film that audiences fell in love with, and it's what became a classic piece of s American cinema.
The existence of the other versions shouldn't create competition as to which version is best, but rather it serves as an opportunity for audiences to see how much a film can change by taking out, putting in, and rearranging the edited sequences.
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