I have a relatively small list of classic films that I want to see on the big screen; Apocalypse Now wasn’t one of them. Nevertheless I found myself frantically booking the best seat possible when I stumbled upon the trailer for Apocalypse Now: Final Cut, Francis Ford Coppola’s latest edit of his 1979 Vietnam War masterpiece.
There’s always a strong sense of trepidation when a director releases a re-edit of a film, after all a couple of Coppola’s contemporaries have left their mark, some may say stain, on cinematic history through re-edits, special editions, director’s cuts etc. etc. Of course we weren’t expecting CGI rocks placed in front of our main characters, guns swapped for walkie-talkies, or for Colonel Kurtz to scream “NOOOOOOOOOOOOO” when Willard strikes his fatal blows (**SPOILERS**).
The best way to look at Apocalypse Now: Final Cut is to not view it as another version of the original theatrical release, but more so to approach it as an edited version of 2001’s Redux. That’s the beauty of these versions which distinguishes Coppola from the likes of Lucas or Spielberg; one can view the 1979, 2001, and now this 2019 release as their own films. Coppola isn’t sat in his vineyard, smashing wine bottles over people’s heads in an attempt to wipe their memories of the previous releases, insisting that Final Cut is the only version there is or will ever be. Much like wine, he presents you with three different variants of the same grape, and although his favourite may be the 2019 Final Cut, you may prefer the ’79 vintage original release, and the person next to you may pick the full bodied 2001 Redux.
It was the most packed I had ever seen a cinema auditorium, I was able to get a seat second to last row in the middle, I noticed that there was a wide range of people who had come to watch this film, which was quite a nice change from previous experiences of seeing classic films in cinemas where it would be me and three other old men, two of which have only come to get out of the rain, spread amongst a large auditorium. I’m still very new to IMAX, having only seen Christopher Nolan’s Dunkirk in the format a couple of years ago. Unfortunately for me, and for many others the film didn’t translate well to IMAX, the picture seemed a little squashed and the 4K restoration made for quite grainy. Certain shots also appeared slightly out of focus too. Additionally, because of the sheer size of the screen, many panning and tracking shots, as well as the numerous dissolves were quite overwhelming and difficult to follow without everything becoming a blur. Confusedly, the credits state that the film was “Optimised for IMAX”, however immediately after the screening, an announcement at the Q&A which followed declared that Apocalypse Now: Final Cut was “Not enhanced for IMAX”, I believe this contradiction may be some reason for the quality of the picture.
Comparing this (maybe unfairly) to Dunkirk, It quickly became apparent to me how the IMAX format has changed the way a director/ cinematographer/ editor will shoot and cut a film. In the trailer, Coppola comments that “...it looks better than it ever looked...” however for me, I have to disagree. I think this screening would have benefitted more had it been projected on a normal screen. Nevertheless certain shots, the more static shots, looked fantastic with two scenes in particular that really stood out for me on a visual and sound level. The first being the famous Ride of the Valkyries assault scene, that ten/ fifteen minutes or so from the moment everyone “mounts up” on their helicopters to the end where Willard and his escorts leave was a fantastically enveloping experience that had the whole audience in goosebumps and absorbed into the film. The second scene which in comparison was the complete opposite of the former, was the French plantation scene (a Redux addition). Static in terms of cinematography, with lush rich colours filling the scene (which appeared as if it was shot in soft focus) was a luxurious sight and offered a brief respite from the topsy turvy, action packed boat ride.
As previously mentioned, the sound was absolutely phenomenal. Coppola in the trailer then comments “...and it sounds better than it ever sounded.” and he is 100% right. This was the saving grace of the IMAX screening, as it was totally immersive and profound on a visceral level. From the opening shots with the blades of the helicopter wafting by, to the end where we hear Brando’s voice whisper “The horror” the sound was... I’ll say it again, phenomenal. It was so good, I find it hard to put it into words. Had the projector broke, I’m certain I would have stayed just for the sound. It made me realise just what an exceptional piece of sound editing Apocalypse Now/ Redux/ Final Cut is.
The attempt to stream the Q&A left us plunged in darkness with no picture and only the condescending nasally whine of Steven Soderbergh echoing through the sound system. After ten minutes of confusion, a member of staff apologised for the lack of picture, citing issues with the lasers, and told us that Screen 12 would be made available for us. So the pilgrimage began, a select few of us who didn’t have trains or trams or busses to catch hurried up the escalator to catch the last thirty minutes of the Q&A. Coppola is such a great raconteur, making the audience both at the Tribeca Film Festival and us in the screen howl with laughter. No matter what people may say about his later career, the man is a cinematic genius.
Picture quality aside, this may have been the best cinema experience I have ever had. From thunderous explosions rocking me in my chair, to running around the cinema trying to find Screen 12, I had a fantastic time. I hated the people who came in late and rustling their crisp packets and using the flash on their phones to find their seat, but it didn’t ruin the overall experience for me. That the key word for me, experience; I didn’t watch this film, I experienced it. Coppola has done a fine job with Final Cut, keeping it to the editing room and cutting room floor. It isn’t excessive, it didn’t drawl, and most importantly, it still seemed fresh. I’ve seen the original release and Redux a number of times and at no point was I sat in my chair waiting for a certain scene to end or waiting for another scene to appear. My only comment would be that I think it may have looked better on a normal screen, as it was too much at times for IMAX. I think this may also prove that older films don’t necessarily need to be screened in new formats, Apocalypse Now doesn’t need to prove anything to anyone; it has its strengths and didn’t really need to be screened in IMAX. It’s somewhat haunting to know that this was originally a project that George Lucas had his eyes on. Heaven knows what a Lucas Final Cut would have been like. Nevertheless I loved it through and through. I believe this was a one-time only screening, but if you love Coppola and/ or Apocalypse Now then get this film on Blu-ray when it comes out, or track down your nearest cinema and hound them to screen it.
*I really liked the addition of the CGI native falling off the CGI oxen as the boat zooms up the Nung River.
Reviewer - Daryl Griffin
on - 13/8/19
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