Searching For Meaning in Apocalypse Now
Francis Ford Coppola's film Apocalypse Now takes the audience into a tense and mystical journey through the Vietnam War. This long and agonizing journey is seen through the eyes of Captain Willard played by Martin Sheen. Sheen. Captain Willard is assigned to a mission that relies on him to assassinate Colonel Kurtz, who is played by Marlon Brando. Although Apocalypse Now is an examination of the many terrors of society that are connected to the Vietnam War, Coppola plays much of his film off Joseph Conrad's novel The Heart of Darkness. Conrad's story focuses on Captain Marlow who is parallel to Willard and the Colonel Kurtz possesses many of the same characteristics in both works. In both works, the Captain is to find the Colonel, but Coppola makes a very significant change in his film. This significant change is the transition of Captain Marlow assigned to find Colonel Kurtz in the Congo, to Captain Willard assigned to assassinate Colonel Kurtz in Cambodia. The fact that Willard has now become an assassin of Kurtz is very important in Coppola's over all point. It especially is important for the last ten minutes of the movie when Willard actually kills Kurtz. The final scenes of the film consist of Kurtz' reading of the poem "The Hollow Men" and the interplay of Willard killing Kurtz while the Cambodian Natives kill a water buffalo in a ritualistic setting. These changes and departures of the ending of Heart of Darkness are made so Coppola can make his point about the Vietnam War and society. The point being that the Vietnam War was completely meaningless and a lost cause among several others. However, as will be shown, these points come in conflict with eachother and are difficult to ...
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Apocalypse Now is definitely a movie fit for an audience who wishes to be stimulated with thought overload. The movie is filled with all kinds of metaphors to the Vietnam War and parallels to Heart of Darkness. Coppola makes alterations to Heart of Darkness to achieve his own personal point that is very different from Conrad's, but his point is still not completely clear. Coppola's opposition to the war is obvious but he throws in a lot of other elements to try to add even more onto that. Coppola uses Kurtz to examine the importance of not judging, "The Hollowness of Men", and the Christlike figure of Kurtz himself. All of these are great ideas, but the ideas are just scattered throughout the movie and show no cohesiveness. However, one can still appreciate Coppola's thought-provoking ideas without completely understanding what they all mean.
Apocalypse Now is a very vivid and sometimes disturbing film centered on the Vietnam War. Because it was based on Joseph Conrad's novella Heart of Darkness, it is possible to draw some parallels between the two. Both can be interpreted as metaphors for a journey through the inner self, and each has its own singular message to convey. Apocalypse Now very perspicuously depicts the fact that men have hearts of darkness, and it explores the evils of war. At the same time, however, it seemingly glorifies some aspects. The anti-war sequences were often brutal and portrayed destruction as a result of the human condition. The film Apocalypse Now, directed by Francis Ford Coppola, can be interpreted both as pro-war and anti-war in its intent, although the latter is a more valid interpretation.
Although one is a book and the other is a movie, both Apocalypse Now which is directed by Francis Ford Coppola and Heart of Darkness by Joseph Conrad portray very detailed scenes by using various elements in their respective works. A scene is particular that stands out is the death of the helmsman which contains many similarities but also many differences between the two works. Similarities like the iconic fog that appears serve to convey a message of the helpless that the characters feel because at the mystery of their surroundings and of the uncertainly of what their tasks.
“If you would not be forgotten as soon as you are dead and rotten, either write things worth reading or do things worth writing.” This maxim applies to the poet Dante Alighieri, writer of The Inferno in the 1300s, because it asserts the need to establish oneself as a contributor to society. Indeed, Dante’s work contributes much to Renaissance Italy as his work is the first of its scope and size to be written in the vernacular. Due to its readability and availability, The Inferno is a nationalistic symbol. With this widespread availability also comes a certain social responsibility; even though Dante’s audience would have been familiar with the religious dogma, he assumes the didactic role of illustrating his own version of Christian justice and emphasizes the need for a personal understanding of divine wisdom and contrapasso, the idea of the perfect punishment for the crime. Dante acts as both author and narrator, completing a physical and spiritual journey into the underworld with Virgil as his guide and mentor. The journey from darkness into light is an allegory full of symbolism, much like that of Plato’s Allegory of the Cave, which shows a philosopher’s journey towards truth. Therefore, Dante would also agree with the maxim, “Wise men learn by others’ harms; fools scarcely by their own,” because on the road to gaining knowledge and spiritual enlightenment, characters who learn valuable lessons from the misfortunes of others strengthen their own paradigms. Nonetheless, the only true way to gain knowledge is to experience it first hand. Dante’s character finds truth by way of his own personal quest.
He claims a reputation for honesty and plain speaking, in the play the others refer to him as “honest Iago,” yet he invents elaborate lies in order to exploit and manipulate other people. Unfortunately he is surrounded with bitter irony. In chapter one Iago says “I am not what I am,” which can be interpreted as “I am not what I seem.” What is good for him is bad for others and people repeatedly rely on him and he betrays them. Much like a sociopath, Iago likes to have other unwittingly working to serve his purposes. Iago is also a man with an obsession for control and power over others who has let his obsession take over his whole life. Ultimately, Iago achieved his goal in destroying Othello and obtaining power, unfortunately he is not alive to bask in that
Although not every hero shouts “Avengers Assemble” before a worthy deed, heroism is shown in all aspects of the everyday world. Webster Dictionary has exactly 5 definitions under the word hero and still no two people explain heroism the same. Superman and Captain America are a glimpse of the fictional characters society titles a hero. Firefighters and Military portray heroism each day in the lives of every civilian. As Sullivan and Venter stated “individuals are referred to as ‘heroes’ for seemingly different reasons” and even through endless studies the adjectives referring heroes is ever changing. Among the various ideas of what it means to be a hero, boldness and valiance capture the essence of heroism.
Generally when you think of a hero, who do you envision? Most likely, you picture a strong and imposeing figure, someone capable of performing in high pressure situations, demonstrating bravery and passion to help his/her fellow man. Those who typically fit that role in society are firefighters, policemen, and soldiers. Those people deserve all the credit and recognition they receive for their courageous acts. However, what about individuals or groups who aren’t necessarily on the “frontlines” physically protecting others and saving lives, but who work extremely hard to improve the lives of others in some way? These everyday people deserve credit as well. After all, to the people they help, these volunteers or activists are heroes. An example of such a group is the Greensboro Four, a few African American college students in the early 1960s who helped change the landscape of segregation in the Jim Crow South.
In Othello, Iago is Shakespeare’s most malicious character and serves as a vehicle to these two themes. Iago despises Othello; he has a strong will to destroy Othello’s life, yet the motive behind his plan goes unexplained. Iago is a great manipulator of the tongue and lies to everyone in order to advance his plan; however, every character in the play considers Iago an honest character, and Othello even associates Iago with light and eyesight. Othello continuously asks Iago to explain or make something clearer. Until the very end, Iago appears to be honest and helpful to the other characters, but underneath this seemingly harmless façade, Iago is a demon with the strongest will; he will stop at nothing until he ruins Othello’s life. Iago uses a positive appearance to enact his
As early as the first scene of the play Iago shows us strong motives for his actions. In this first scene we see Othello, a general of Venice, has made Cassio his new lieutant. Iago feels he truly deserves his promotion as he says "I know my price, I am worth more no worse a place."(l.i.12) Iago over here is confused why Othello has made such a stupid decision. Iago is a man with a tremendous ego who knows, sometimes overestimates, his worth. Roderigo, a Venetian gentleman, understands Iago when Iago said that he is "affined to love the Moor."(l.i.41-42) What Iago really means is "I follow him to serve my term upon him."(l.i.45) Iago wants to use Othello for his personal goals. We also must put ourselves into Iago's shoes. He is a man whose self-esteem and professional carrier have just been torn apart. Iago makes his actions of revenge toward Othello almost immediately by informing Brabantio, a Venetian senator and father of Desdemona, that "an old black ram (Othello) is tupping (his) white ewe (Desdemona)."(l.i.97)
Shakespearian tales always leave us with a plethora to ponder about the Elizabethan age and Shakespeare himself. “Othello” is no break in this mold, leaving us to ponder the roll of Iago within the harsh tale of love and murder. Iago is the one to tell Othello of his wife’s betrayal with Cassio, hence making up a story that will work to his favor yet betray those around him. Iago betrays his wife, Emilia, but not only her as he drags Othello, Desdemona, and Cassio into the mix of lies and the hatred he is spreading to improve his rank with Othello. But were Iago’s acts unjust and done for the sake of it? Is he a heartless man who’s only happiness is to bring sorrow upon others? No, Iago has a just reason for what he does, even though he causes the deaths of Cassio, Emilia, and Desdemona in his search for revenge; Iago is not a heartless fiend, just a man wronged.
Lummus, David. "Dante’s Inferno: Critical Reception and Influence." Dantes Inferno. Engerda: Arun, 2000. 63-79. Print.
Characters in the play fail to comprehend Iago’s true nature until it is too late. Those interacting with Iago fall into the belief that Iago is loyal to his superiors, when Iago is actually focused on bringing them (Cassio and Othello) down. Iago constructs a false impression of his loyalty to Othello through ...
Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy. His skill in finding the proverbial chinks in others' armor allows him to skillfully weave his machinations of destroying Othello into their minds and actions; by manipulating character's perceptions of Desdemona, Iago gains the leverage he needs to exploit each character. No one is impervious to Iago's seething purpose; even Othello falls prey to Iago's suggestions and insinuations about Desdemona. Iago's constant presence as the stager, as well as his ceaseless - but subtle - reinforcement of events through narration, allows him to be the pivotal force that directs Shakespeare's Othello.
Iago is very determined and emotionless. He brings negative outcomes to every character he comes in contact with. Although Iago characterizes himself as noble, the reader can see him for the villain he is. Throughout the play Iago’s every decision is on how
In Shakespeare’s Othello, Iago is the antagonist and villain who causes all the trouble and disorder. Othello is the protagonist, and is the main person Iago’s destruction and revenge is aimed towards. Othello is naïve and gives everybody his trust even though he may not know them or they haven’t earned his trust yet. He often refers to Iago has “Honest” Iago, which is a direct showing of irony because Iago is not honest at all (Shakespeare, I, iii. 289). Iago is so angry that Othello didn’t give him the promotion that was given to Cassio that he plans to seek revenge against Othello. He seeks his revenge against Othello by manipulating and lying to all of the people around him including his closest friend Roderigo, Cassio, Othello’s wife Desdemona and even his own wife Emilia. In the end, Iago’s lies and manipulation led to the deaths of Roderigo, Emilia, Othello and Desdemona. This isn’t the first time many of these individual characteristics have shown up in one of Shakespeare’s plays.
story is a young boy. The motive to kill is that he sees the boy’s