Reise ins Herz der Finsternis

Francis Ford Coppola was fond of saying 'Apocalypse Now' was "not about the Vietnam War; it was the Vietnam War", and this long overdue chronicle of the film's troubled production certainly proves his point. Using behind-the-scenes 16mm footage shot by Coppola's wife, Eleanor, and borrowing several passages from her published diaries, the documentary traces how what began as a modest wartime action movie (with nods to Joseph Conrad) would emerge, after several years, several tens of millions of dollars, and more than one physical and mental breakdown, as a brilliant, bloated, visionary epic. The production itself was often a living illustration of Murphy's Law: what could go wrong did go wrong, including a civil war, a devastating typhoon, a near-fatal heart attack suffered by actor Martin Sheen, and the appearance on the set of an unprepared, overweight Marlon Brando to play the emaciated Colonel Kurtz. Among the many revealing moments is Martin Sheen's drunken breakdown on camera (included in Coppola's finished film), and snippets of the fascinating, discreet audiotapes showing the director near the end of his wits. Invaluable hindsight is provided by cast and crew, including Coppola himself, who was never quite able to recover professionally from the experience.

The making of a movie has never been documented with more power to discern the true nature of what is happening behind the scenes than in this account of the torment and the passion of Francis Ford Coppola's Apocalypse Now. That is because no other behind-the- scenes piece has ever had entrée of materials that are usually prohibited like shots that were never used, abandoned scenes, suppressed conflicts between the director and his actors, divulging of disheartenment and misery, including even arguments between Coppola and his secretly, patiently ambitious wife that she secretly recorded. I've always wondered how he felt about that.

The film may not be as mind-blowing as I expected, but it bares Coppola of all resistance or argument and still exposes him as a bold and daring filmmaker. It also exposes the chaos through which he put his cast and crew on location in the Philippines, and likewise what he suffered by them. Coppola, outraged that Martin Sheen's heart attack made its way to the media and the news could kill the production: "Even if he dies, I don't want to hear anything but good news until it comes from me." Dennis Hopper, his mind adrift on drugs, is unable to remember his lines and yet somehow improvises well what we see in the film. I love seeing authentic drug scenes in movies. Marlon Brando, at a cool million a week, finally shows up, yet unprepared and unexpectedly fat, and endlessly argues with Coppola about a character in a half-existent script he's barely read. Brando begins one scene and then walks away while the camera is still rolling. And Apocalypse Now premiered years after production had begun, shared the Palme d'Or, and went on to become one of the great mythic productions in film history.

Legends have blossomed from it. Coppola confessed he did not think the ending worked. Now we see what he was talking about. Originally set to be directed by the comparatively anemic George Lucas and scripted by Conan the Barbarian writer John Milius, the project went through so many changes that finally Coppola was writing it as he shot it, and actors were improvising. The production is harassed, plagued and badgered by rainstorms, morbidly obese budget overruns, health scares, and logistical horrors, as when the Philippine government rents Coppola the same helicopters it's using to fight rebels ten miles away.

Coppola shouted in despair to his wife, Eleanor: "I tell you from the bottom of my heart that I am making a bad film." And again, "We are all lost. I have no idea where to go with this." Yet Coppola's vision somehow remained secure. Milius, flown to the Philippines by a desperate studio to bring sanity back to the script, remembers that he walked in prepared to convince Coppola that the war was lost and they had to salvage what they could. When he left, Coppola had him convinced it would be the first film to win the Nobel Prize. That is what Francis Ford Coppola is made of, and why the film is so sad. It's like a dirge in that his glory days are long, long gone. Did he only have a handful of remarkable cinematic achievements in him? What has happened?

In the 1970s, he made the first two Godfathers and Apocalypse Now, assaulted with grave personal, political, and creative resistance that, as is evidenced here, almost dismantled him. The Conversation was made straight from his two bare hands. These films are masterstrokes. After Apocalypse Now, his work took a serious nosedive---The Outsiders? New York Stories? ---and even now, as he has returned to the helm with Youth Without Youth, he cannot seem to repossess his course. He had to fight for those masterpieces and that agony and ecstasy is what made them so unsurpassable. Though he at one point denies it in this documentary, Coppola must run on hectic despair and obstruction to make a great film. And that's what we see him do here. It's a curse.

Hearts of Darkness is based on footage that Eleanor Coppola shot at the time, and on recent interviews with both Coppolas, plus Milius, Lucas and the cast, including Larry Fishburne, whose appearance is fascinating because we see him as a naive, restless 14-year-old on a gigantic multi-million-dollar movie shoot and at the present, where he has changed and learned so much. We feel for once we are witnessing the true story of how a movie got made rather than a series of interviews about how brilliant person A is and what a beautiful soul person B is.

In 1976 Philippines, Francis Ford Coppola would risk everything to make 'Apocalypse Now'. It's an adaptation of Joseph Conrad's 'Heart of Darkness' to the world of the Vietnam War. The budget explodes and principal photography gets extended to 238 days. His wife Eleanor joins him filming the behind the scenes. Coppola replaces his lead Harvey Keitel. The military's help would often be diverted to fight the rebels. Martin Sheen has a heart attack. The big French section is unworkable. A typhoon destroys the production. It is absolute madness as the production becomes its own Vietnam. This is definitely not a standard production. It is a compelling watch for any film lover. It is one of the best behind-the-scenes film and should be seen as a companion piece to Apocalypse Now.

I took Abed's advice to watch this and it certainly is much better than Apocalypse Now!

Never in my whole life have I ever watched a documentary that was so detailed down to every last thing and has been so influential and haunting at the same time. What Eleanor Coppola did was make a documentary that showed filmmakers not what to and how to solve the things that go wrong and also not to jump into something without realising it's outcome. What she also did was collect moments on the set and off of the greatest film ever made.

I have always made that known when reviewing a lot of films on IMDB how much this film means to me and when you watch Heart of Darkness without flickering an eyelid you kind of find out why. At the beginning of the documentary you see Francis ford Coppola talking about Apocalypse Now at a press conference and he says the famous line `The film wasn't about Vietnam, it was Vietnam' and after hearing it you are thinking what the hell is this guy on about and then you watch it and you think to yourself `Oh he was probably right bless him' because no one apart from the cast and crew knew what he really meant. Then you watch the documentary and you eat your words because we see how much pressure he was under and Brando and Martin Sheen's heart attack didn't help but he pulls through. It was like he made a pack with the devil for his film to be an absolute nightmare to make but for the final outcome to become a glorified Masterpiece which is what it is.

To see what had happened when filming stopped in the jungle with the tribe and the footage of the cow's and pigs being slaughtered to death was extraordinary and disturbing that this really happens. In the scene where the cow or bull (I don't know) gets hacked into pieces is well known for being real but it was well constructed before Francis said `action' but on the documentary you see a number of men just go up to the animal and do what they have to do. It' really sinks in when looking at that part what kind of film Apocalypse Now is. I would have liked to have seen a bit more of Brando but I think it's good that we don't because it just like the film in that respect that even in a documentary he continues to be secluded from the rest and kept in the dark. Francis Ford Coppola was wasted after making Apocalypse now. Never will Hollywood not even Peter Jackson ever see a director like Francis because films like Apocalypse Now will probably never be made again because of the financial side of the business but Coppola was beyond a director, he was a master that had no hold on itself and without his belief and madness we wouldn't be blessed with this outstanding film. It's not a point that I am making it's a fact and it destroys me to think there is nobody challenging the ways he did anymore, but in a way I like it like that.