The First Contact in Apocalypse Now

The First Contact in apocalypse Now and heart of DarknessIn Apocalypse Now, Francis Ford Coppola obviously modifies and embellishes the characters, scenes and dialogue of Joseph Conrads Heart of Darkness. However, with only minor modification Coppola powerfully represents Charlie Marlows first contact with Kurtz camp. Marlow is greeted by a completely unexpected young Russian adventurer who had constrain a part of Kurtzs family. Although Coppola has changed the Russian adventurer into an American photojournalist he has kept the characterizations and dialogue very close to Conrads original. In doing so, the impact, groundwork and nitty-gritty of the cinematic and textual versions of the same scene argon virtually agree. Nonetheless several elements missing from the screen version causes it to be less than helpful in understanding the text version.The young Russian was Charlie Marlows first sight when he reached Kurtz camp and he looked at him in astonishment. There he was origi nally me, in motley, as though he had absconded from a troupe of mimes, enthusiastic, fabulous. His very existence was improbable, inexplicable, and altogether bewildering (p. 119). Although not English like Marlow, he made contiguous note of his commonality as a brother sailor (p. 116). Rather impetuously he requests some of Marlows excellent English tobacco spot pointing out your pilot-house wants a clean up (p. 115). Aware of Marlows potential peril at the hands of the natives, he advises him to keep the boats sing ready one good screech will do more for you than all your rifles (p. 115).The Russian took it upon himself, and appeared literally compelled to tell Marlow as much as doable of Kurtz and his relationship with him. He was clearly in awe of Kurtz and yet casually mentioned Kurtz had threatened to kill him. He described the great intellectual and emotional conversations they shared. He made no apologies for the obvious atrocities carried out under Kurtz com existenced human heads mounted on stakes. As an explanation he pleaded to Marlow you dont acknowledge how such a life tries a man like Kurtz (p. 124).He denied Kurtz was mad he protested you cant judge Mr. Kurtz as you would an ordinary man (p. 121). In spite of it allor perhaps because of it allthe Russian had nursed Kurtz through illnesses and tried to convince Kurtz to vanish the jungle. But Kurtz remained according to the Russian this man suffered too much. He hated all this, and somehow he couldnt get absent (p. 121). The Russian knew it was time to leave and perhaps time for Kurtz to leave as well, and Marlow gave him cartridges, tobacco and even shoes as he was leaving the camp. Upon leaving he exclaimed you ought to have heard him recite poetryhis own, toooh, he enlarged my mind (131).Coppola is very faithful to the original in his characterization of the American photojournalist who greets Willard on his arrival. The American, nameless as Conrads Russian, quickly establishes his co mmonality with Willard and the crew, rank out American Im an American civilian Similarly he quickly boards the boat, stating happily you got the cigarettes and exclaiming This boat is a mess, man Willard is stunned at his appearance, but just as grateful as Marlow when the American advises just zap em with your siren in reference to the hostile natives ring the boat.The American, like the Russian, is a disciple of Kurtz and takes it upon himself to tell Willard all he can about Kurtz and his relationship with him. Hes concerned Willard has come to take him away this great man who is a poet warrior in the classic sense. Like the Russian, the American has also been threatened with death by Kurtz but is loyal nonetheless. Willard, like Marlow, sees the grotesque heads on pikes and the American responds youre looking at the headssometimes he goes too far and fears youre gonna call him crazy.The two scenes are virtually parallel in theme and message. The appearance of both characters is completely unexpected and adds the suspense of what else can be expected in this other-worldly place? The unexpectedness is combined with the theme of being caught off-guard by the appearance of someone familiar in an unfamiliar environment. Is it safe or dangerous to trust this person?Additionally the characters provide Marlow/Willard with interpretations and disaffirmation of Kurtz, which is equally frightening when the profound effect of Kurtz upon the characters is revealed. It is a very effective way of giving substance to a man who has yet to be seen. The characters are very appropriate gatekeepers to the Heart of Darkness Marlow/Willard are about to enter. The message is the power Kurtz can exert on a fellow European/American and both reader and viewer are left to wonder what effect Kurtz will have on Marlow/Willard.Unfortunately Coppolas scene does little to assist in understanding the scene as written by Conrad for a very simple reason despite the dramatic jolt the Amer ican gives, he is an half(prenominal) if not throwaway character. Conrads Russian is a man of his own adventure who had nursed Kurtz and urged him to leave he clearly recognizes the time to move on, which helps format Kurtz and his influence on the Russian in perspective.Coppolas American, by contrast, has not been of any assistance to Kurtz nor urged him to leave, and is not heard from after bringing Willard into the camp. The Russian has survived and thrown off the influence of Kurtz whether the American survives is left to the imagination. Despite this, Coppola has provided the viewer a powerful visual representation of the entry into the Heart of Darkness.ReferencesConrad, Joseph. (2003). Heart of Darkness. New York Barnes & Noble.Coppola, Francis F. Apocalypse Now. 1979. Zoetrope Studios.