The First Contact in Apocalypse Now

The First Contact in revealing Now and tinder of unfairnessIn Apocalypse Now, Francis Ford Coppola obviously modifies and embellishes the characters, mounts and dialogue of Joseph Conrads Heart of Darkness. However, with only minor modification Coppola powerfully represents Charlie Marlows commencement contact with Kurtz camp. Marlow is greeted by a completely unexpected vernal Russian venturer who had become a part of Kurtzs family. Although Coppola has changed the Russian jeopardizer into an American photojournalist he has kept the characterizations and dialogue very close to Conrads original. In doing so, the impact, theme and message of the cinematic and textual variations of the same candidate are virtu each(prenominal)y pair. 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. T here he was before me, in motley, as though he had absconded from a troupe of mimes, enthusiastic, fabulous. His very existence was improbable, inexplicable, and completely bewildering (p. 119). Although not English like Marlow, he made immediate ancestry of his commonality as a brother sailor (p. 116). Rather impulsively he requests some of Marlows excellent English tobacco date pointing pop your pilot-house wants a clean up (p. 115). Aware of Marlows say-so peril at the hands of the natives, he advises him to keep the sauceboats whistle ready one good screech will do more for you than all your rifles (p. 115).The Russian as well ask it upon himself, and appeared literally compelled to tell Marlow as much(prenominal) as possible of Kurtz and his relationship with him. He was clearly in concern of Kurtz and yet casually mentioned Kurtz had menace to kill him. He described the striking intellectual and emotional conversations they shared. He made no apologies for the obvio us atrocities carried out under Kurtz com valet de chambredhu piece heads mounted on stakes. As an account he pleaded to Marlow you dont know how such a animation 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 attempt to convince Kurtz to cash in ones chips the jungle. But Kurtz remained according to the Russian this man suffered overly much. He hated all this, and somehow he couldnt stand by away (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, withaloh, he enlarged my mind (131).Coppola is very faithful to the original in his characterization of the American photojournalist who greets Willard o n his arrival. The American, nameless as Conrads Russian, right away establishes his commonality with Willard and the crew, crying 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 flabbergasted at his appearance, but just as grateful as Marlow when the American advises just zap em with your femme fatale in reference to the hostile natives surrounding the boat.The American, like the Russian, is a adherent 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 c all 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 combine 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 defense 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 attestator 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 primer despite the dramatic jolt the American gives, he is an incomplete 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 say 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 dish 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.