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Los Angeles Times
18-07-2025
- Entertainment
- Los Angeles Times
Is the making-of ‘Apocalypse Now' doc the greatest ever? Plus the week's best movies
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Writer-director Ari Aster has refashioned himself from a maker of art-house horror films like 'Hereditary' and 'Midsommar' into a more overt social satirist with 'Beau Is Afraid' and his latest film, 'Eddington,' which opens this week. Pointedly set in the spring of 2020 in a small town in New Mexico — a moment when uncertainty, paranoia and division over the response to COVID were maximally disorienting — the film's story concerns a sheriff (Joaquin Phoenix) who tosses his hat in the ring to run against an incumbent mayor (Pedro Pascal). Each spouts their own complicated, spiraling rhetoric as the race between them becomes more intense, and they seem swept away by circumstances much larger than they can understand or control. In her review of the film Amy Nicholson wrote, 'Aster's feistiest move is that he refuses to reveal the truth. When you step back at the end to take in the full landscape, you can put most of the story together. (Watch 'Eddington' once, talk it out over margaritas and then watch it again.) Aster makes the viewer say their theories out loud afterwards, and when you do, you sound just as unhinged as everyone else in the movie. I dig that kind of culpability: a film that doesn't point sanctimonious fingers but insists we're all to blame. 'But there are winners and losers and winners who feel like losers and schemers who get away with their misdeeds scot-free. Five years after the events of this movie, we're still standing in the ashes of the aggrieved. But at least if we're cackling at ourselves together in the theater, we're less alone.' Carlos Aguilar spoke to acclaimed cinematographer Darius Khondji, a former collaborator of David Fincher, James Gray and the Safdies, about working with Aster for the first time on 'Eddington.' 'Ari and I have a common language,' Khondji said. 'We discovered quite early on working together that we have a very similar taste for dark films, not dark in lighting but in storytelling.' The 1991 film 'Hearts of Darkness: A Filmmaker's Apocalypse' is widely thought of as among the greatest behind-the-scenes documentaries ever made. Directed by Fax Bahr with George Hickenlooper from documentary footage directed by Eleanor Coppola, the film explores the epically complicated production of Francis Ford Coppola's 'Apocalypse Now.' A new 4K restoration of 'Hearts of Darkness' will have a limited run at the American Cinematheque beginning Sunday, with Bahr in-person for multiple Q&As. When Eleanor Coppola went to the Philippines in 1976 with her husband and their three children for the production of his hallucinatory Vietnam War saga 'Apocalypse Now,' he enlisted her to shoot doc footage in part to save on additional crew and also to give her something to do. Drawing from Eleanor's remarkable footage, surreptitious audio recordings she made and her written memoir of the experience, 'Notes: On the Making of 'Apocalypse Now,'' 'Hearts of Darkness' becomes a portrait of the struggle to maintain creativity, composure and sanity amid chaos as everything that could possibly go wrong seemingly does. Military helicopters are redeployed during takes, star Martin Sheen suffers a heart attack, monsoons destroy sets, Marlon Brando is immovable on scheduling and the ending of what all this is leading toward remains elusive. 'I think it's really held up and survived,' said Bahr of the documentary in an interview this week. 'It works as a complement to this extraordinary film that Francis produced. Of course, ['Apocalypse Now'] would be what it is without this, but I do think for people who really want to go deeper into the 'Apocalypse' experience, this is really a necessary journey to take.' When 'Apocalypse Now' first premiered at the 1979 Cannes Film Festival, Francis Ford Coppola infamously said, 'The way we made it was very much like the way the Americans were in Vietnam. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.' The years between the lengthy production of 'Apocalypse Now,' its turbulent release and the subsequent years before the 'Hearts of Darkness' project came to be likely eased the Coppolas into participating with such candor and full-fledged access. 'I think having almost 10 years after 'Apocalypse Now' was helpful,' said James T. Mockoski, who oversaw the restoration for Coppola's company American Zoetrope. 'It would've been a much different documentary when it was supposed to come out. It was supposed to support the publicity and the marketing of the film at that time. 'Apocalypse' was very difficult, as we have seen, obviously. I don't know how much they would've had the hunger to revisit the film and go right into a documentary. It was a rather difficult, challenging time for them. And I think 10 years gave them a perspective that was needed.' 'He gambled it all and he won,' said Bahr. 'And what I hope we really achieved with 'Hearts' was showing the despair that really all artists go through in the creative process. And even though you go there, if you keep at it and your goal is true then you achieve artistic greatness.' According to Mockoski, Francis Ford Coppola has seen his own relationship to the documentary change over the years. While at times unflattering, and certainly showing the filmmaker racked by doubt and in deep creative crisis, 'Hearts' also shows him as someone, improbably, finding his way. 'It's a very hard relationship with the documentary, but he has grown over the years to be more accepting of it,' said Mockoski. 'He doesn't like the films to ever be shown together. If anyone wants to book it, they shouldn't be on the same day. There should be some distance. And he doesn't really want people to watch the documentary and then just figure out, where's Francis and what is his state of mind at this point? They're two separate things for him. And he would rather people watch 'Apocalypse' just for the experience of that, not to be clouded by 'Hearts.'' In his original review of 'Hearts of Darkness,' Michael Wilmington wrote, 'In the first two 'Godfather' movies, Coppola seemed to achieve the impossible: combining major artistic achievement with spectacular box-office success, mastering art and business. In 'Apocalypse Now,' he wanted to score another double coup: create a huge, adrenaline-churning Irwin Allenish spectacle and something deeper, more private, filled with the times' terror. Amazingly, he almost did. And the horror behind that 'almost' — Kurtz's Horror, the horror of Vietnam, of ambition itself — is what 'Hearts of Darkness' gives us so wrenchingly well.' 'What 'Hearts' is great about is that it shows you a period of filmmaking that's just not seen today,' said Mockoski. 'You look at this and you look at ['Apocalypse'] and there's just no way we could make this film. Would we ever allow an actor to go to that extreme situation with Martin Sheen? Would we be allowed to set that much gasoline on fire in the jungle? Hollywood was sort of slow to evolve, they were making films like that up from the silent era, these epic films, going to extremes to just do art. It just captured a moment in time that I don't think we'll ever see again.' Having premiered at the 2006 Cannes Film Festival and screened only a few times since, Quentin Tarantino's 'Kill Bill: The Whole Bloody Affair' will play twice daily at the Vista Theater from July 18-28. Clocking in at over 4 hours and screening from Tarantino's personal 35mm print (complete with French subtitles), it combines the films known as 'Kill Bill Vol. 1' and 'Kill Bill Vol. 2' into a single experience with a few small changes. The main difference is simply taking it all in as 'The Whole Bloody Affair,' an epic tale of revenge as a woman mostly known as 'The Bride' (Uma Thurman in a career-defining performance) seeks to find those who tried to kill her on her wedding day. (I'll be seeing the combined cut for the first time myself during this run at the Vista.) Manohla Dargis' Los Angeles Times reviews of the two films when they were first released in October 2003 and April 2004 still make for some of the most incisive writing on Tarantino as a filmmaker. Dargis' review of 'Vol. 2' inadvertently helps sell the idea of the totalizing 'The Whole Bloody Affair' experience by saying, 'An adrenaline shot to the movie heart, soul and mind, Quentin Tarantino's 'Kill Bill Vol. 2' is a blast of pure pop pleasure. The second half of Tarantino's long-gestating epic, 'Vol. 2' firmly lays to rest the doubts raised by 'Vol. 1' as to whether the filmmaker had retained his chops after years of silence and, as important, had anything to offer beyond pyrotechnics and bloodshed. Tarantino does have something to say, although most of what he does have to say can be boiled down to two words: Movies rock. 'In a world of commodity filmmaking in which marketing suits offer notes on scripts, this is no small thing. Personal vision is as rare in Hollywood as humility, but personal vision — old, new, borrowed and true blue to the filmmaker's inspirations — shapes 'Vol. 2,' giving it texture and density. Personal vision makes Tarantino special, but it isn't what makes him Quentin Tarantino. What does distinguish him, beyond a noggin full of film references, a candy-coated visual style and a deep-tissue understanding of how pop music has shaped contemporary life, affecting our very rhythms, is his old-time faith in the movies. Few filmmakers love movies as intensely; fewer still have the ability to remind us why we fell for movies in the first place.' '2046' in 35mm Showing at Vidiots on Friday night in 35mm will be Wong Kar-wai's '2046,' the 2004 follow-up to his cherished 'In the Mood for Love.' Loosely connected to both 'In the Mood for Love' and Wong's earlier 'Days of Being Wild,' '2046' stars Tony Leung as a writer in late 1960s Hong Kong who has encounters with a series of women, played by the likes of Maggie Cheung, Faye Wong, Gong Li, Carina Lau and Zhang Ziyi. (He may be imagining them.) Fans of Wong's stylish, smoky romanticism will not be disappointed. In her original review of the film, Carina Chocano called it 'a gorgeous, fevered dream of a movie that blends recollection, imagination and temporal dislocation to create an emotional portrait of chaos in the aftermath of heartbreak.' 'Lost in America' + 'Modern Romance' On Tuesday and Wednesday, the New Beverly will screen a 35mm double bill of Albert Brooks' 1985 'Lost in America' and 1981's 'Modern Romance.' Directed by, co-written by (with Monica Johnson) and starring Brooks, both films are fine showcases for his lacerating comedic sensibilities. A satire of the lost values of the 1960s generation in the face of the materialism of 1980s, 'Lost in America' has Brooks as an advertising executive who convinces his wife (Julie Hagerty) to join him in quitting their jobs, selling everything they own and setting out in a deluxe RV to explore the country, 'Easy Rider'-style. In a review of 'Lost in America,' Patrick Goldstein wrote, 'Appearing in his usual disguise, that of the deliriously self-absorbed maniac, Brooks turns his comic energies on his favorite target — himself — painting an agonizingly accurate portrait of a man imprisoned in his own fantasies. … You get the feeling that Brooks has fashioned an unerring parody of someone who's somehow lost his way in our lush, consumer paradise. Here's a man who can't tell where the desert ends and the oasis begins.' 'Modern Romance,' features Brooks as a lovelorn film editor in Los Angeles desperate to win back his ex-girlfriend (Kathryn Harrold). In his original review of 'Modern Romance,' Kevin Thomas wrote, 'You have to hand it to Albert Brooks. To put it mildly he's not afraid to present himself unsympathetically.' In a 1981 interview with Goldstein, Brooks said, 'As a comedian it's really my job to be the monster. People either love me or hate me. If I wanted to be a nice guy, I'd make a movie about someone who saves animals.' (Brooks would, of course, go on to appear as a voice actor in 'Finding Nemo' and 'Finding Dory.') 'The Little Mermaid' For the next installment of the Los Angeles Film Critics Assn.'s ongoing series at the Egyptian, there will be a screening on Thursday, July 24, of 1989's 'The Little Mermaid' with directors Ron Clements and John Musker present for a Q&A moderated by Carlos Aguilar. 'The Little Mermaid' received LAFCA's inaugural award for animation, the first of its kind among critics groups.
Wall Street Journal
03-07-2025
- Entertainment
- Wall Street Journal
‘Hearts of Darkness: A Filmmaker's Apocalypse': Francis Ford Coppola's Chaos in 4K
Last summer, New York's Film Forum opened a 4K restoration of Les Blank's 'Burden of Dreams,' a documentary about the torturous creation of Werner Herzog's 'Fitzcarraldo.' This weekend, the theater is opening a 4K restoration of another behind-the-scenes look at an infamous film shoot: that of Francis Ford Coppola's 'Apocalypse Now,' as captured in 1991's 'Hearts of Darkness: A Filmmaker's Apocalypse,' directed by Mr. Coppola's wife, Eleanor, alongside Fax Bahr and George Hickenlooper. (The restoration will travel to select cities in the coming weeks.) The two documentaries share a sense that the films they are about are inextricable from the wild circumstances of their production, the movies and their making fusing into fever dreams of ego and anguish, debt and danger, long days and longer odds that the projects at hand will ever see the light of the silver screen. But whereas to my eyes 'Burden of Dreams' eclipses 'Fitzcarraldo' in artistic interest, 'Hearts of Darkness' is the story of a masterpiece, one arguably flawed and assuredly visionary.
BBC News
02-07-2025
- Entertainment
- BBC News
'Vietnam was insane, Apocalypse Now only slightly less so': The inside story of the wildest shoot in film history
No production has been as troubled as the 1979 war epic. As behind-the-scenes documentary Hearts of Darkness is re-released, its director, and two of those who were on set, reveal all. "The way we made it was very much like the way the Americans were in Vietnam," explained Francis Ford Coppola, after the Cannes Film Festival screening of Apocalypse Now in 1979. "We were in the jungle. There were too many of us. We had access to too much money, too much equipment, and, little by little, we went insane." While the troubled production of Coppola's epic, brutal, psychedelic war film had been well documented in the press while it was being made – from finance issues to actors being re-cast, and health problems to extreme weather – it would not be until 1991 that the true extent of the chaos would become clear via Hearts of Darkness: A Filmmaker's Apocalypse. The documentary was assembled from extensive footage that Coppola's wife Eleanor shot while on set, depicting a film production that while breathtaking in scope, ambition and vision, was equally messy, drug-addled, and riddled with seemingly insurmountable setbacks. Fax Bahr and the late George Hickenlooper were the two young directors tasked with combing through reel after reel to piece together the madness and tell the gripping story of the film's making. Now that film, having undergone a 4K restoration, is back in US and UK cinemas from this weekend. Bahr still recalls the first day he saw Coppola's footage, which had been sitting, largely untouched, for over a decade. "Some of the reports had been, 'Oh, there's a lot of out-of-focus stuff,'" he tells the BBC. "But the reels we looked at were extraordinary. Just beautiful footage. Clearly, she had been copiously recording everything that was happening. It was absolute gold." The long list of troubles Apocalypse Now, loosely based on the 1899 novella Heart of Darkness by Joseph Conrad, is considered one of the greatest works in cinematic history. However, it nearly fell apart at various stages. With filming starting in the Philippines in March 1976, it was initially set to be a five-month shoot – but in the end would last over a year. Coppola fired his leading man, Harvey Keitel, a few weeks in, and replaced him with Martin Sheen, who then suffered a near-fatal heart attack on location. Expensive sets were totally destroyed by a typhoon, and some actors were infected with hookworm parasites, while others leaned into heavy partying and drug-taking on set. Then Marlon Brando, who was playing the AWOL Colonel Kurtz, showed up on set heavily overweight and completely unprepared, which forced Coppola to re-write and shoot the ending of the film to suit him. As time went on, the film was so drastically over budget that Coppola took on the role of financing it himself, which would have ruined him had it not made its money back. According to Eleanor Coppola's book, Notes, even after the shoot had wrapped, during post-production, Coppola only gave himself a 20% likelihood that he could pull out a credible film from the wreckage. The documentary paints a picture of a production that sets out to recreate the Vietnam war and, in many ways, ends up mirroring many of the same patterns of behaviour that took place among soldiers. One person suitably placed to make such a comparison is Chas Gerretsen, the Dutch war photographer and photojournalist who was brought onto the set for six months (the results were collected in the 2021 book Apocalypse Now: The Lost Photo Archive.) "Vietnam was insane, Apocalypse Now only slightly less so," Gerretsen tells the BBC. The harsh conditions were totally alien to most people there. "The crew complained a lot about the heat, humidity, hotel rooms, bugs, mosquitoes," he says. "The mud – sometimes knee-deep – was a real challenge." Damien Leake, who played a machine gunner in the film, was on set for three weeks and similarly remembers the physical as being unlike anything he had encountered. "The first thing I remember is getting off the plane and the humidity hits you like a wet mop," he tells the BBC. "Having been from New York, I know humidity, but this was unbelievable." The water was not safe to drink, geckos climbed the walls of the hut he stayed in, and the weather was biblical. "Every day it would rain," he says. "It would rain like it was mad at you. It would rain sheets like I had never seen before." As the production dragged on, it became tough for the cast and crew, who started to miss life back home. "They were pretty much like the soldiers in Vietnam, who had never been further away from home than Canada," recalls Gerretsen. "There was a lot of homesickness. One member of the crew went nearly every weekend to Manila – a three-to-four-hour trip, each way, over a bad road – and rented a hotel room overlooking the airport, just watching planes take off for the USA." Coppola's vision was crumbling more and more as time went on. In particular, he couldn't nail the ending of the film which, to this day, varies in several different edits and versions of the film. "I call this whole movie the Idiodyssey," Coppola said at the time, as recorded in Hearts of Darkness. "None of my tools, none of my tricks, none of my ways of doing things works for this ending. I have tried so many times that I know I can't do it. It might be a big victory to know that I can't do it. I can't write the ending to this movie." However, his cast seemingly stayed loyal and committed. "Actors would walk through fire for Francis," says Leake, "because he gives them such leeway and such a sense of them being able to make this [scene/character] their own. Then he then shapes it into what he wants. You can't ask for more than that." While homesickness plagued many, Leake had a different experience. He calls his time on the shoot "the most glorious three weeks of my life. I would go hang out with Filipino people, which I adored. I thought they were wonderful. I fell in love with a beautiful girl and if I had had a bigger part in the film, I'd probably still be there. I loved it that much." Telling the behind-the-scenes story Once Bahr began to work through all the footage, it was only then that it sunk in just how miraculous it was that this film existed at all. "I knew that it was an extremely challenging film to pull off, but until you get into the nitty gritty of the footage, you couldn't really understand the horrendous obstacles that they kept facing." As such, the task Bahr had in telling the story behind the story was a challenge itself, requiring him to dig through around 80 hours of footage. "The first cut of the documentary was four and a half hours," he explains. "Because Ellie (Coppola) kept shooting after the production was over, we had a whole post-production section [in the original cut]." And of course, there was plenty of drama during that process, even when Coppola and his team were out of the jungle and back in the comfort of a studio. "One of the editors absconded with the print and holed up in a hotel room," Bahr recalls. "Nobody could find him and they thought that the whole thing was stolen. Then he would send back burned celluloid in envelopes saying, 'I'm getting rid of the film, scene by scene'. They were just freaking out." Thankfully, the creative differences that had caused the rift and theft were resolved before any serious damage was done. Bahr recalls the moment when he knew that the documentary had uncovered something foundational. "The discovery of the audio tapes that Ellie made of Francis was revelatory," he says of the audio recordings that play out over scenes in the film. "Ellie was the only person on Earth who was capable of capturing Francis like that – up close and personal. This was putting you right here with an American master in his most private moments and it was a real glimpse into the very centre of creativity: its doubt, worry, angst, and working out these ideas. That was incredibly special." Coppola gave Bahr and Hickenlooper his blessing to do what they wanted with the footage. His only instruction was: be honest. "He said, 'There's some ugly things that happened here, but as long as you tell the story honestly, I'll support it.'" The only request he made was that the narration, which had been done by a voice actor, was re-recorded by his wife, given that the material was hers and, in many ways, this was a story seen through her eyes. It was a final masterstroke move that made the documentary feel like even more of a raw insider's look at the film shoot. More like this:• How Brokeback Mountain challenged Hollywood• Full Metal Jacket and the ultimate anti-war films• 10 of the best films to watch this July "The nicest thing that anyone says to me about the documentary is that it's a necessary accessory to understanding Apocalypse Now," says Bahr. "People say, 'Well, I saw Apocalypse Now and loved it, but after I saw your documentary, I understood it in a more comprehensive way.' That's the highest compliment possible." For Bahr, Apocalypse Now exists as a total one-off. "It was such a unique film in film-making history," he says. "I don't think anybody will ever be able to do anything like that again. Not just because Francis was willing to stake his whole fortune on it, but also just because of the ambition. I mean, he intended to go to the Philippines and recreate Vietnam for the crew and have everybody in the company go through that experience. It was such a brilliant vision." For Gerretsen, his experiences have become almost impossible to distinguish from his memories of actual war zones. "The explosions, the coloured smoke, the hours of waiting for the scene to be set up – everything is mixed," he says. When he did watch the finished film, its impact was significant. "It was incredible in the way it brought it all back. It was a masterpiece, no doubt, but it would be several years before I could watch it again. Both the Vietnam and Cambodian wars, and Apocalypse Now, continue to be with me because the insanity of war is still with us." Hearts of Darkness: A Filmmaker's Apocalypse is in UK cinemas from 4 July, and will play at New York's Film Forum from 4 July, and other US cinemas nationally from 18 July. A 4k Blu-ray collector's edition will be available to buy in the UK from 28 July. -- If you liked this story sign up for The Essential List newsletter, a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week. For more Culture stories from the BBC, follow us on Facebook, X, and Instagram.
UPI
06-06-2025
- Entertainment
- UPI
'Apocalypse Now' doc 'Hearts of Darkness' returning to theaters
1 of 6 | Eleanor Coppola, seen with husband Francis Ford Coppola at the 2022 Academy Awards in Los Angeles, oo-directed the documentary "Hearts of Darkness: A Filmmaker's Apocalypse." File Photo by Jim Ruymen/UPI | License Photo June 6 (UPI) -- Rialto Pictures announced Friday it will re-release the documentary Hearts of Darkness: A Filmmaker's Apocalypse in theaters this summer. The film will screen for two weeks at the Film Forum in New York beginning July 4 and play nationally after. Hearts of Darkness follows Eleanor Coppola as she documents her husband, Francis Ford Coppola, during the making of his 1979 film Apocalypse Now. Filming in the Philippines went awry, including star Martin Sheen having a heart attack and Marlon Brando's tardiness delaying production. Behind-the-scenes directors Eleanor Coppola, Fax Bahr and George Hickenlooper first assembled their footage in the Hearts of Darkness documentary in 1991. The trio won Emmys for Directing and Editing after the film premiered on Showtime. American Zoetrope and Roundabout Entertainment restored the documentary in 4K for this re-release. Eleanor Coppola died in 2024 prior to the release of Francis' latest film, Megalopolis, which he dedicated "For My Beloved Wife Eleanor." Megalopolis was an idea Francis had while making Apocalypse Now and ultimately self-financed it, selling many of his vineyards for the film's budget. Apocalypse Now was adapted from the Joseph Conrad novel Heart of Darkness. Francis Ford Coppola and John Milius adapted the book to take place during the Vietnam War. Captain Willard (Sheen) is assigned to go upriver and assassinate rogue Colonel Kurtz (Brando), encountering several Vietnam War obstacles along the way. Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fishburne, Dennis Hopper, Scott Glenn, Colleen Camp, Cynthia Wood, Linda Carpenter and Harrison Ford also star. Duvall won Best Actor and cinematographer Vittorio Storaro won an Oscar. It was nominated for Best Picture, Best Director and Best Adapted Screenplay. Francis Ford Coppola released an extended cut, Apocalypse Now: Redux in 2001 and a third version, Apocalypse Now: The Final Cut removing some of the Redux scenes, in 2019.
