What then follows is a napalm strike over the trees in our still viewing wide framed, long shot. But in the end his mind cannot forget what his eyes had seen and what his hands had done. For example, he carefully moves the shot of the two napalm fire balls so the large one fits with the top of Willard's head and the small one lodges near his eye. Soon followed by the chopper we've heard sweeping across the screen close to the stationary camera. The use of editing is blurred with the intertwining images of present and past, the war and the aftermath. Kurtz's clothes and green facepaint.
His original mission from the General was to assassinate Kurtz because he had gone mad engaging in senseless mayhem that was impeding the American war effort. For me, I see a rather darker interpretation of this opening. This quotation shows how for Mary Ann the Vietnam War intrigued her and captured her mind as this idea is directly associated with the film clip. The example of Mary Anne and how Vietnam changed her is a powerful one. After this part of the scene we return to a normal shot, a close up of protagonists face. The same shot from the opening sequence.
The scene opens with an aerial view of a forest of Palm trees. The sound we here in this point of view shot is of a helicopters rotor spinning. The first scene in the movie begins with an extreme wide shot consisting of green palm trees. Immediately, the music links image to place and time: with its frenzied rhythms, the song prepares us for the odyssey that is about to begin. Coppola layers the shots and then dissolves between them.
Bits of information would reveal itself throughout the opening scene. The sound of helicopters rotors are still heard right up until our character looks outside and gains a sense of where is he. One image and one sound tell it all. It is evident that sound, imagery and editing were fundamental techniques that made this scene beautiful to watch. As this shot begins, so does Willard's final voice-over, which is not his first-person narration, but his aural memory of Kurtz's voice. A little bit of elaboration on the quotes may help make them even more solid. What was meant to be a patriotic reminder that America still cares about them turns into a sad reality check.
The sound is clear and feels as if it is close to the viewer like the fans are. Another shot is added now as the copter shot dissolves. Bits of information would reveal itself throughout the opening scene. Likewise, chaos becomes a continuous aspect presented throughout the entire film. He moves the various shots under and above each other rather than moving the camera. He had gotten off the boat. It is actually an adaptation of a passage from Michael Herr's.
While this song is being played the sound of the helicopters flying back and forth is evident and disarming as it tends to get louder as the helicopters appear and softer as they leave the area of the scene, these continuous overlays of sound effects on top of the music draw us back to the reality of the war and disastrous things happening to the jungle. So he waits willingly for the scorching hellfire to engulf him whole. This is a reference to Captain Willard's river boat mission in Apocalypse Now. The theme of war and blurred morality which is shown time and time again in Willard's journey up the river and through the heart of darkness is represented in this opening sequence. Willard's experience has changed all this.
The now grimy and foggy shot lingers as the diegetic helicopter blades and non diegetic score merge to form something of its own atmosphere. As the introduction to the song progresses, elements in the film change and smoke enters the scene amongst the palm trees. He now knows that his heaven is far out of reach and that there is nothing he can do to extend his arm far enough. We see many shots dissolve together over the close up of Willard, the ceiling fan of his room which mirrors the blades of the helicopters, the fire, the forest as the lyrically and thematically appropriate song continues to assault the senses. What's with the superimposition of images? As the introduction to the song progresses, elements in the film change and smoke enters the scene amongst the palm trees.
Coppola has integrated the four major symbols of Vietnam-- Choppers, Jungle, Napalm and Rock 'n Roll--in an unforgettable visual and aural experience that has become, for many, the quintessential expression of the Vietnam war. Coppola used music to anchor the film to its specific social context. Specifically in the film Apocalypse Now, directed by Francis Ford Coppola in 1979. Everybody wanted me to do it, him most of all. Francis Ford Coppola uses repetition of the opening song in the final sequence of the film, connected to the use of shadows in this scene as well as in the opening the song and lighting represent the theme of duality and evil within. Kurtz was to be killed because he wasn't following orders. The lighting and editing of this opening sequence shows an emphasis on duality, we see half of Willard's face cloaked in shadow as the other shots are superimposed over him as well as the shots of the shadowy jungle silhouetted by the glow of the deep orange fog and fire.
We know what this sound means because the chopper became one of the major symbols of the Vietnam war. And the face is under the image of the fiery jungle with the choppers circulating. Observing Kilgore--a model officer--had told him that. Score and Soundtrack In Apocalypse Now, music primarily sets a psychedelic, hallucinatory tone that both places the film in its historical period—America in the late 1960s—and mirrors the surreal events depicted onscreen. He just wanted to go out like a soldier, standing up, not like some poor, wasted, rag-assed renegade. The government encourages him and that soldier truly believes he is a good human being whilst doing these horrible things.