“Apocalypse Now” and Forever, Thanks to a Definitive New Blu-ray Edition

“Apocalypse Now” and Forever, Thanks to a Definitive New Blu-ray Edition (photo)

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Like a mega-mind Great American Novel or hundred-hour Wagnerian opera cycle, Francis Ford Coppola’s “Apocalypse Now” remains larger than our concept or evaluation of it, larger than its director’s quasi-cosmic ambitions, larger, really, than itself. Any brief history of movies’ most astonishing follies — which translates to cinema’s biggest badass landmarks, if not necessarily the “greatest” by many measures — must include Coppola’s Vietnamization of the American cultural experience. It doesn’t hurt that there are multiple versions, from the Cannes rough cut to the two endings we had in 1979 to 2001’s “Redux” version to the five-plus-hour workprint of which you can still buy bootleg copies online. Add to the pile the new “Full Disclosure” Blu-Ray package, which completely obliterates the need for that tempting illegal workprint by way of hours of new supplements, coordinated and sometimes directed by Coppola, letting loose with piles of excised footage but also giving it all a dense dose of context.

Of course the Blu-Ray transfer is as lovely a presentation as the film has had since it emerged from the printer’s bath in 1979. You get both official versions, but “Redux” is imperative. Unlike most “director’s cuts,” the Walter Murch re-edit restored over 50 minutes to the film that weren’t just fun or worthwhile, but all told reinvented the thrust of the film. In 1979, the pared-down cut had a baroque grandness that many critics took as top-heavy self-importance. But the restored scenes (the Kilgore surf board, the Playboy bunny interlude, the French plantation, etc.) revealed what “Apocalypse Now” was always at its core: a satire.

Not for nothing does writer John Milius, in a new interview conducted by Coppola in his vineyard’s cask room, say that the biggest influence on the genesis of the film was “Dr. Strangelove” — a point even Coppola seems a little enlightened by. Once we could see the deliberate, outrageous humor of “Apocalypse Now,” leaked like gasoline into nearly every major set-piece, what once might’ve seemed like a grandiloquent acid-opera about Vietnam became more Voltairean than Conradian, an explosive, sardonic rip through American neo-colonialism, as it was indelibly infected with hippie excess and civil-rights-era rage and plopped down upon a huge and unconquerable swath of Southeast Asia.

10172010_DuvallApocalypseNow.jpgGranted, the Colonel Kilgore sequence was always bitterly farcical; now it’s high comedy, and for a second Martin Sheen’s PTS-poisoned assassin actually smiles. Dennis Hopper’s yackety-yack photojournalist suddenly makes complete sense within the film’s personality (instead of being just a brilliant blast of irony), and Marlon Brando’s lurching, enigmatic rogue-king isn’t the ballooning deity he thinks he is, but just a bizarre product of American military hubris, mutated into a homicidal wacko by the needs of jungle warfare. The load of literary allusions piled into the film (Conrad, Eliot, Robert Frazier, plus, as Milius points out, again to Coppola’s surprise, Homer — think of Kilgore as the Cyclops and the Playboy bunnies as the Sirens) are all about maturation, passage and corruption. They don’t pump up the stature of Kurtz so much as shadow-play the entire, soul-sick project of white American violence, going back centuries.

It’s certainly sweet to have Coppola, still a fecund and talkative cine-philosopher, control the disc’s supplements, going so far as to assemble a short himself, “The Hollow Men,” out of behind-the-scenes footage and outtakes from the Kurtz compound shoot, with Brando narrating Eliot and the Filipino natives tolerantly recruited as corpses, soldiers and body parts. Otherwise, the Milius interview is a pleasure, as always (Milius remains one of the most entertaining talkers in Hollywood, although it’s still something of a mystery as to how he could write “Apocalypse Now” and love “Dr. Strangelove” and still be such an unmitigated jingoist), coming with Coppola’s express agenda to reassert Milius’s role as the “author” of the film’s most famous sequences, and indeed most of its deep ideas.

Sit-downs with Martin Sheen, producer Fred Roos, editors and soundtrack laborers are fascinating (and supplemental themselves to 1991’s making-of doc “Hearts of Darkness,” also included), but the wealth of entire cut scenes (especially a Herzogian chiller known simply as the Monkey Sampan scene) is catnip for the unalloyed fan. Not that some scenes weren’t wise to have been lost — apparently, Scott Glenn’s Colby was once a much more active character, and the scene where he breaks down and kills Hopper’s harmless jester character with a shotgun is wince-worthy.

10172010_CoppolaHeartsofDarkness.jpg“Apocalypse Now” was already famous before it was released as being “about” Coppola’s journey through self-destruction, crazed ambition, madness and a kind of auteurist neo-colonialism just as much as it was about its narrative journey and primal themes. (As Milius puts it, Coppola’s high-wire, commit-everything, bankruptcy-causing megalomania redefined what it meant to “be a director.”) But there’s also here, in the sea of new docs and remembrances of the early Zoetrope days, an almost idealized notion of what young-ish filmmakers are supposed to do: band together and break the rules. Making Hollywood movies for these guys began a series of bullshit sessions and spontaneously proceeded as a tumble of crazy accidents.

Typically, Coppola tells how he came to the film’s famous opening — palm trees, The Doors, “ghost helicopters,” slo-mo napalm — by impulsively reaching into a garbage can full of discarded shots and saying, maybe this would work. Only Terrence Malick has gotten away with this kind of epic whimsicality recently (as in, the last 20 years), and on yet another huge, crazily poetic war film. But by all reports Malick didn’t suffer the agonies of his own creation (“The Thin Red Line,” also just out in a supplement-packed box, from Criterion) like Coppola did. It’s possible no director ever has since, and if “Apocalypse Now” still radiates the strange, massive aura of a terrestrial event, it’s probably because for Coppola it was genuinely do or die.

“Apocalypse Now: Full Disclosure” is now available on Blu-ray.

[Additional photo: “Hearts of Darkness: A Filmmaker’s Apocalypse,” American Zoetrope, 1991]

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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