Thursday, April 26, 2012

Music and sound in Apocalypse Now Redux

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Artistic film parameter Music


There is a conflict in every human heart between the rational and the irrational, between good and evil. The good does not always triumph. Sometimes the dark side overcomes what Lincoln called the better angels of our nature.


(Captain Willard, Apocalypse Now Redux)


Indeed, Francis Ford Coppola has infused music into his form of storytelling, acting as a compliment to the themes of insanity and horror of the Vietnam war. Apocalypse Now opens with a song by The Doors that is ironically but not surprisingly named The End, together with slow-moving images, it creates sort of a “cinematic hallucination”, and thus forewarns its audience immediately that this is not any other war film, but one that explores the darkness and madness of the human mind. The song returns again in the ending of the film, after Kurtz’s assassination, summing up the film in tones of irony and ambiguity.


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Also the overall original music composed for the film seems to be one that contains mainly surrealistic elements. Often haunting and horrific, it often helps to reiterate the themes of madness and evil that lurks within the human condition. At times, the images look realistic and believable yet music takes on an ironic approach, making the war seem mythical and symbolic.


Technical film parameter Lighting


We didnt want to do anything naturalistic. It had to have its own style. I didnt want it to look like reportage. I put artificial colour, artificial light next to real colour, real light - to have the explosion of the napalm next to a green palm tree; to have the fire of an explosion next to a sunset in order to represent the conflict between culture and the irrational. I realised the film was not really a war movie. It was about civilisation.


(Vittorio Storarao, Cinematographer, Apocalypse Now)


Vittorio Storarao’s lighting seems highly motivated by the themes within the film, concentrating on extremely low key lighting at many significant scenes that portray the psychological breakdown of the characters.


One such example is that of Marlon Brando coming out of the darkness, there is very high contrast as though only parts of him are shown from time to time. He seems to symbolize man that is stuck between the two lines of good and evil, and he is slowly seeking his way out of the dark side.


Many of times, the cinematographer uses dark shadows that seem to trail behind their moving characters. They can be interpreted as the conscience of these men, or also the evil and darkness of human nature. The combined use of shadows and low key lighting throughout the film especially during sensitive moments has successfully drive the themes of madness and darkness, and thus unnerve the audience into re-evaluating the human condition.





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