Heart of Darkness and Apocalypse Now
Heart of Darkness and Apocalypse NowInherent inside every human soul is a savage evil side that
remains repressed by society. Often this evil side breaks out during
times of isolation from our culture, and whenever one culture
confronts another. History is loaded with examples of atrocities that
have occurred when one culture comes into contact with another.
Whenever fundamentally different cultures meet, there is often a fear
of contamination and loss of self that leads us to discover more about
our true selves, often causing perceived madness by those who have yet
to discover.
The Puritans left Europe in hopes of finding a new world to
welcome them and their beliefs. What they found was a vast new world,
loaded with Indian cultures new to them. This overwhelming cultural
interaction caused some Puritans to go mad and try to purge themselves
of a perceived evil. This came to be known as the Salem witch trials.
During World War II, Germany made an attempt to overrun Europe.
What happened when the Nazis came into power and persecuted the Jews
in Germany, Austria and Poland is well known as the Holocaust. Here,
human�s evil side provides one of the scariest occurrences of this
century. Adolf Hitler and his Nazi counterparts conducted raids of the
ghettos to locate and often exterminate any Jews they found. Although
Jews are the most widely known victims of the Holocaust, they were not
the only targets. When the war ended, 6 million Jews, Slavs, Gypsies,
homosexuals, Jehovah's Witnesses, Communists, and others targeted by
the Nazis, had died in the Holocaust. Most of these deaths occurred in
gas chambers and mass shootings. This gruesome attack was motivated
mainly by the fear of cultural intermixing which would impurify the
"Master Race."
Joseph Conrad�s book, The Heart of Darkness and Francis Coppola�s
movie, Apocalypse Now are both stories about Man�s journey into his
self, and the discoveries to be made there. They are also about Man
confronting his fears of failure, insanity, death, and cultural
contamination. During Marlow�s mission to find Kurtz, he is also
trying to find himself. He, like Kurtz had good intentions upon
entering the Congo. Conrad tries to show us that Marlow is what Kurtz
had been, and Kurtz is what Marlow could become. Every human has a
little of Marlow and Kurtz in them. Marlow says about himself, "I was
getting savage (Conrad)," meaning that he was becoming more like
Kurtz. Along the trip into the wilderness, they discover their true
selves through contact with savage natives.
As Marlow ventures further up the Congo, he feels like he is
traveling back through time. He sees the unsettled wilderness and can
feel the darkness of it�s solitude. Marlow comes across simpler
cannibalistic cultures along the banks. The deeper into the jungle he
goes, the more regressive the inhabitants seem.
Kurtz had lived in the Congo, and was separated from his own
culture for quite some time. He had once been considered an honorable
man, but the jungle changed him greatly. Here, secluded from the rest
of his own society, he discovered his evil side and became corrupted
by his power and solitude. Marlow tells us about the Ivory that Kurtz
kept as his own, and that he had no restraint, and was " a tree swayed
by the wind (Conrad, 209)." Marlow mentions the human heads displayed
on posts that "showed that Mr. Kurtz lacked restraint in the
gratification of his various lusts (Conrad, 220)." Conrad also tells
us "his� nerves went wrong, and caused him to preside at certain
midnight dances ending with unspeakable rights, which� were offered up
to him (Conrad, 208)," meaning that Kurtz went insane and allowed
himself to be worshipped as a god. It appears that while Kurtz had
been isolated from his culture, he had become corrupted by this
violent native culture, and allowed his evil side to control him.
Marlow realizes that only very near the time of death, does a
person grasp the big picture. He describes Kurtz�s last moments "as
though a veil had been rent (Conrad, 239)." Kurtz�s last "supreme
moment of complete knowledge (Conrad, 239)," showed him how horrible
the human soul really can be. Marlow can only speculate as to what
Kurtz saw that caused him to exclaim "The horror! The horror," but
later adds that "Since I peeped over the edge myself, I understand
better the meaning of his stare� it was wide enough to embrace the
whole universe, piercing enough to penetrate all the hearts that beat
in the darkness� he had summed up, he had judged (Conrad, 241)."
Marlow guesses that Kurtz suddenly knew everything and discovered how
horrible the duplicity of man can be. Marlow learned through Kurtz�s
death, and he now knows that inside every human is this horrible, evil
side.
Francis Coppola�s movie, Apocalypse Now, is based loosely upon
Conrad�s book. Captain Willard is a Marlow who is on a mission into
Cambodia during the Vietnam war to find and kill an insane Colonel
Kurtz. Coppola's Kurtz, as he experienced his epiphany of horror, was
an officer and a sane, successful, brilliant leader. Like Conrad�s
Kurtz, Coppola shows us a man who was once very well respected, but
was corrupted by the horror of war and the cultures he met.
Coppola tells us in Hearts of Darkness that Kurtz�s major fear is
"being white in a non white jungle (Bahr)." The story Kurtz tells
Willard about the Special Forces going into a village, inoculating the
children for polio and going away, and the communists coming into the
village and cutting off all the children's inoculated arms, is the
main evidence for this implication in that film. This is when Kurtz
begins to go mad, he "wept like some grandmother" when, called back by
a villager, he saw the pile of little arms, a sophisticated version of
the "escalating horrors." What Kurtz meant by "escalating horrors" is
the Vietnamese army�s senseless decapitation, torture, and the like.
Kurtz is facing a new culture and has a terrible time dealing with it.
This was the beginning of his insanity.
"All America contributed to the making of Colonel Kurtz, just as
all Europe produced Mr. Kurtz. Both Kurtzes are idealized in their
function as eyewitnesses to the atrocities. What is reflected is the
threat of loss of self, loss of centrality, and the displacement of
Western culture from the perceived center of history by those whom it
has enslaved and oppressed (Worthy 24)." This tells us that the evil
side and the madness in both Kurtzes was brought out by the fear of
new cultures different from their own, and their inability to deal
with this fear. The disconnection between the opening words of Kurtz's
report "By the simple exercise of our will, we can exert a power for
good practically unbounded" and the note on the last page,
"Exterminate all the brutes!" illustrates the progressive
externalization of Kurtz's fear of "contamination," the personal fear
of loss of self which colonialist whites saw in the "uncivilized,"
seemingly regressive lifestyle of the natives. Gradually, the
duplicity of man and reality merged for the two Kurtzes, one in the
Congo, and one in Vietnam. As this happened, the well defined cultural
values masculine/feminine and self/other that had specific segregated
roles, could not be sustained in the Congo or in Vietnam. "For the
Americans in Vietnam, as for the colonialists in Africa, madness is
the result of the disintegration of abstract boundaries held to be
absolute (Worthy 24)."
"As it attempts to confront the 'insanity' of the war through
Kurtz' s madness, that of the filmmakers, and the madness of U.S.
culture, Hearts of Darkness exposes the contradictions between the
inherent hierarchy and inequality within the cultural forces of the
United States and official democratic principles, which led to the
perception that it could waste what it viewed as insignificant little
people and preserve its own image in the world. Along with that is the
growing realization, since the Tet Offensive of 1968, that the U.S.
was somehow way off the mark (Worthy 24)." American Culture views it
self as "correct", and we see ourselves as powerful police of the
world. Our culture looked down upon the Vietnamese because they were
more simple than us, just as Europe and Marlow looked down on the
Africans. Believing ourselves to be superior, we had a lot of trouble
dealing with the discovery that we are not.
Coppola makes a point to show us that the Chief of a boat armed
to the teeth was killed by a native in a tree who threw a spear. Not
even an "advanced" Navy boat can defend itself against some "simple"
natives armed only with spears. This opens Captain Willard�s eyes to
the horror of the situation he now finds himself in.
Even more intriguing, however, is the similarity between the
transformation of the characters in Apocalypse Now, and the cast and
crew that created it. In Hearts of Darkness, (a documentary about the
making of Apocalypse Now.) Eugene Coppola becomes the narrator (a
Marlow or Captain Willard) and Francis becomes Kurtz.
"Francis believed that only if he could duplicate Willard�s
experience, could he understand his moral struggle. In other words, he
had to lose control of his own life before he could find the answers
to the questions that his narrative asked (Worthy 24)." Coppola�s main
horror was his fear of producing a pretentious movie. "Eleanor
repeatedly calls the making of Apocalypse Now a journey into Coppola's
inner self. Coppola, like Kurtz, is regarded as a deity. Moreover,
while Willard stalks Kurtz in Apocalypse Now, Coppola stalks himself,
raising questions which he feels compelled to answer but cannot,
finally announcing his desire to "shoot himself. " He means suicide,
but the cinematic connotation of the term, "to shoot," jointly
criticizes both the U.S. and Coppola's film for exercising a demented
self-absorption (Worthy 24)." Coppola had to deal with perhaps the
most agonizing of his troubles: his shriveling self-confidence. As the
budget soared, as the producers worried, as the crew and actors grew
restless and dispassionate, Coppola worried that he did not have what
it takes to finish the film. He struggled with the ending, with his
own creative ability, and with his sense of purpose.
Martin Sheen, who plays Captain Willard, is the one who really
faces the horror. During the filming he has a nervous breakdown and
later a heart attack. Some of his co-actors believed that Martin was
becoming Captain Willard, and was experiencing the same journey of
self discovery.
We live our lives sheltered in our own society, and our exposure
to cultures outside of our own is limited at best. Often, the more
technologically advanced cultures look down upon those that they deem
to be simpler. On the occasion that some member of one culture does
come into contact with another, simpler culture, a self discovery
happens. Both cultures realize that deep down inside, all humans are
essentially the same. We all posses a good and an evil side, and no
culture, not matter how "advanced," is exempt from that fact.. This
discovery often causes madness as this evil side is allowed out. Only
those who have completed the "journey into self" can understand the
actions of people such as Kurtz. They are alone in this world of
horror� The Horror!
Works Cited
1. Apocalypse Now. Dir. Francis Coppola. With Martin Sheen, Robert
Duval, and Marlon Brando. Zeotrope, 1979.
2. Conrad, James. Heart of Darkness and Other Tales. Great Britain,
BPC paperbacks ltd. 1990.
3. Hearts of Darkness. Dir. Fax Bahr, George Hickenlooper. Paramount,
1991.
4. "HEARTS OF DARKNESS -- A FILMMAKER'S APOCALYPSE.", Magill's Survey
of Cinema, 6-15-1995.
5. Worthy, Kim, "Hearts of Darkness: Making art, making history,
making money, making `Vietnam'.".,Vol. 19, Cineaste, 12-01-1992, pp
24.