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Author Topic: Rate The Last Movie You Saw  (Read 1761743 times)
stanton
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« Reply #13665 on: July 07, 2014, 07:23:08 AM »

And the stolen surf board scene has a moment in which Willard laughs like a child and seems to be happy. This is completely wrong.
Dunno why this scene is important for FFC.

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« Reply #13666 on: July 07, 2014, 07:27:51 AM »

Not sure everything he added in the redux version is "important" to him. Director's cuts and other extended cuts suffer from one inherent flaw: the editor has NO reason to restrain himself other than his own integrity (and considering how hard it is to cut a scene or even a shot you've been working on for months, I don't think many people on earth have enough artistic integrity for a director's cut).

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« Reply #13667 on: July 07, 2014, 09:14:28 AM »

Yes I know the buffalo scene is a local ritual. But I doubt Coppola simply filmed a local ritual that was going on anyway. I am sure he had it done for the film. Even if it was one take, that would be reprehensible.





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« Reply #13668 on: July 07, 2014, 09:27:20 AM »

-- Of course, the point of the buffalo scene is to be brutal; to challenge us that, why are we appalled by one animal being slaughtered but can have fun watching thousands of people being killed. But that doesn't excuse it; you can't torture an animal just to make a point.
I have no problem with the horse-head scene in The Godfather; he took the head of a dead horse, from a glue factory or sumthin, and put it in the bed. Actually having an animal tortured is an entirely diffferent story, but sadly, often common in movies.

n_l: I hate to break it to you, but Roger Ebert has the same opinion as you about the RotV scene; he says it is the greatest battle scene ever filmed, and talks about how it's supposed to be exhilarating then wait-a-minute-this-is-appalling .... You may enjoy reading his reviews of the movie (original one in 1979, then Great Movie review in 1999) Tongue
However, Ebert actually loves the ending. And he says that when Coppola talked about being unsure about the ending, he meant he was unsure about the closing credits, not the end of the movie itself. (One day, I gotta check out that documentary that was made about Coppola's struggles to make this film. I hope it is on YouTube; will check later when I am on my computer.)
RE: Cahiers, sorry but I don't speak French, in case my PM's haven't taught you that by now Wink

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« Reply #13669 on: July 07, 2014, 09:35:48 AM »

Yeah, Roger's cool.
The closing credits change in REDUX. In the regular cut, it ends with apocalyptic images. They are images of the huge stage built for the final part of the movie being destroyed. However, it was not planned: they just had to destroy it so they shot the process, just in case, and used them in the credits because it was pretty. But some viewers thought that ***SPOILER*** the US aviation destroyed Kurtz fort, which doesn't happen ***SPOILER END*** so he removed the images from the redux edition. The credits are now only white text on black background.

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« Reply #13670 on: July 07, 2014, 10:42:04 AM »

You should watch episode 4.
I took your advice, and the episode does stand out. But basically they made a better episode then the others by turning it into an episode from The Wire (a much better TV series). When they get to episode 5 it's back to the same dreary stuff that was in parts 1-3. This is an awful show.

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« Reply #13671 on: July 07, 2014, 10:51:42 AM »

Yeah I read about the different endings.
I watched the movie on Netflix streaming; as soon as the movie ended, it just faded to a black screen with the Copyright 1979 ... line, and I shut it off then. Were there credits afterward? After reading about the movie on wikipedia and in Ebert's three reviews (original review, Great Movies review, then Redux review), i know about the different endings; my understanding is that the original movie had no end credits on the screen, they were supposed to be in a book, like a Playbill.
But as i said, i don't know if this Netflix version had end credits at all cuz as soon as the screen faded to black, I shut it off.

BTW, Duvall's character may be the most famous in the movie (perhaps because of his napalm line) - and he is definitely good - but I was actually most impressed with Sheen. He was PERFECT. (And then I read that the role was actually offered to a shitload of other (very talented) actors who turned it down cuz they didn't wanna spend 4 months in the jungle.) I thought all the characters on the boat were very good.

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« Reply #13672 on: July 07, 2014, 11:00:24 AM »

Yeah I read about the different endings.
I watched the movie on Netflix streaming; as soon as the movie ended, it just faded to a black screen with the Copyright 1979 ... line, and I shut it off then. Were there credits afterward? After reading about the movie on wikipedia and in Ebert's three reviews (original review, Great Movies review, then Redux review), i know about the different endings; my understanding is that the original movie had no end credits on the screen, they were supposed to be in a book, like a Playbill.
Kind of. There were 2 different programs that I saw at the time. When I saw it in Chicago in fall of '79 there was a fancier program with credits and color stills. When I saw it during Christmas/New Year in Seattle there was a simpler b&w program that basically just had the credits. Both programs were wider and longer than a Playbill--about the dimensions of a standard magazine.

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« Reply #13673 on: July 07, 2014, 11:04:20 AM »

The wildly accepted opinion on these scenes, even among the greatest fans of the movie is that they are ok at best. Many people hate them. Even the Cahiers du Cinema called it a Disney ending at the time (and the movie seems to be done FOR the Cahiers).
But it chimes beautifully with the ending of Conan the Barbarian. Evil

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« Reply #13674 on: July 07, 2014, 11:22:16 AM »

It's only worth seeing if you already love the movie. It adds a lot of interesting scenes that look like the rest of the movie, although makes the whole thing drag a lot (and as you notice, the movie as is is already on the verge of being boring). The best comparison I can think of would be the classic cut of GBU where someone would add many scenes like the Angele Eye fort scene (and nothing like the grotto scene) all over the place: if you like the movie, it's cool because it adds material, and explains a few plot holes and makes everything a bit more square. But it also makes something that worked as is way longer, probably longer than it should be.
Yeah, that's a take I can concur with. I'd add, though, that the restored footage stands out by not having any of Willard's narration--which, of course, was added to the film after the theatrical cut had been determined.

In 1980 there were copies of the screenplay floating about, and it was interesting to get hold of one to see what had been cut out. I remember being interested in the French plantation scene in particular. When Redux came out, I was very interested to see it for that scene alone. That desire having been satisfied, I never need to see Redux again.

I probably will never watch either cut in its entirety ever again. In 79-early 80 I saw the film 5 times (and those were all cinema visits, natch)--it was the most exciting film of the year. Thirty-five years later the film means very little to me.

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« Reply #13675 on: July 07, 2014, 12:39:33 PM »

Not sure everything he added in the redux version is "important" to him. Director's cuts and other extended cuts suffer from one inherent flaw: the editor has NO reason to restrain himself other than his own integrity (and considering how hard it is to cut a scene or even a shot you've been working on for months, I don't think many people on earth have enough artistic integrity for a director's cut).

Of course, and I'm sure if FFC cut a longer version already in 79 he would have made it shorter. On the other hand he did not lenghten the "old" scenes for the Redux version.

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« Reply #13676 on: July 07, 2014, 12:51:18 PM »

***SPOILER*** the US aviation destroyed Kurtz fort, which doesn't happen ***SPOILER END***

Hmm, I think it happens. Or is the scene in which Willard orders the attack not in the Redux version?

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« Reply #13677 on: July 07, 2014, 02:13:25 PM »

In the regular version, Willard tells his buddy in the boat that if he isn't back by a certain time, he should call in an airstrike. But we never see any airstrike, and as far as we know it isn't called in; Kurtz soon drops that buddy's head onto Willard's lap.
Coppola was clear that he never intended there to be an implication that Kurtz's compound was destroyed.

n_l, RE: the Redux, are you saying you think the editor did that himself and it wasn't Coppola-approved?

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« Reply #13678 on: July 07, 2014, 04:50:45 PM »

D&D: no, by "the editor" in this particular sentence I meant the guy who is in charge of the extended version. I was also talking more broadly than just about Apocalypse Now.

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« Reply #13679 on: July 08, 2014, 03:25:32 AM »

I took your advice, and the episode does stand out. But basically they made a better episode then the others by turning it into an episode from The Wire (a much better TV series). When they get to episode 5 it's back to the same dreary stuff that was in parts 1-3. This is an awful show.

Well at least the story is told like you tell a cinema story, not a TV series... unlike The Wire, that is a great show too, but it's still TV. TD is Cinema. I'm not just talking about technical stuff but also about the cast, the music, effects, set design, costumes, ambition, and you know, art. I'm talking about dancing midgets Smiley

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