Apocalypse Now Opening- Scene Analysis
This scene opens by fading into a long shot of palm trees swaying in the wind. "The end" by The Doors play and the whirring sound at the beginning of the song replicate those of the whirring helicopter propellers that soon enter the scene. The helicopter passes through the shot from left to right as diegetic music continues to play. The shot becomes layered-very typical of Coppola's editing- as a yellow mist arises. The landing skids of another Helicopter can be seen passing through with the return of the whirring sound. The yellow mist then rises up as the scene smoothly transitions to flames rising up simultaneously. The deep red hues of the flame fill the entire long shot as the camera slowly pans from left to right, capturing the world around it with all the palm trees on fire and caught in the explosion as Jim Morrison sings his line "this is the end". The yellow mist is still present, establishing almost a blurred and distorted effect. For a split second the mist fills the entire screen, allowing for the transition into the next scene.
More helicopters pass through. First from right to left in the distance and then left to right in the foreground of the shot. An extreme close up of our protagonists face is then layered and framed upside down on the shot and he's looking rather sweaty. Another helicopter and another set of landing skids can be seen passing through the mise-en-scene before the blades of a ceiling fan are layered into the shot, replicating those of the helicopter. The scene begins to transition with the fan slowly fading away as a new background enters the scene with the protagonists face still layered. The screen momentarily goes very dark during this. The cinematography allows for the face to only just be seen. A blue sky can faintly be seen as another helicopter passes. Just as the tail of the helicopter can be seen leaving the scene, it very elegantly shifts into the next scene.
The cool toned sky from the previous scene can be seen in complete contrast to the warm toned fire now panning from right to left. Leaves from the pam trees can be seen slowly falling to the ground emphasising the destructive nature of the atmosphere, and the protagonists face can still be seen as he takes a drag from a cigarette. The haunting voice of Jim Morrison can still be heard as the diegetic music pursues.
Another image is then layered on the screen; a stone passageway of a buddhist face that re-appears near the end of the film manifests itself onto the screen whilst violent flames ascend into the air covering half of the characters face who conveys a slight green tint. The scene can be symmetrically slit up into thirds, which each layer occupying their assigned space whilst bleeding into each other. The flame begins to attenuate as the other two layers fade away. Another flame can be seen appearing in the exact same position in the next scene.
Two more helicopters pass concomitantly, emerging from different directions. A grey mist now fills the screen as the flame continues to burn. A layered image of the ceiling fan returns as the fire shifts to the bottom left. The ceiling fan projects it's whirring drone as the setting changes. We now have an elevated shot of the character laying in bed whilst the flame is still faintly layered on. The camera begins panning extremely slowly around the face, so that eventually he is no longer upside-down. More layers surface as we see yet again another helicopter pass from left to right. The protagonists face fades away as darkness momentarily fills the screen. The camera then begins panning from left to right across his bedroom.
The fire blazes on in the left corner as more helicopters proceed through the shot. Various magazines and books can be seen as the camera is panning. A close up of the characters hand enters the shot. The panning continues and some palm trees- surprisingly not burning up in flames this time- are layered on. Two helicopters pass at divergent distances as the panning reaches our characters face. He sleeps whilst the camera is still moving and the song is still playing. The scene fades into another yet the camera continues panning the same way. A half empty drink and a lighter can be seen in the mise-en-scene. A layer of the character holding a cigarette is layered on for a brief moment before fading completely into that cut. Still panning from left to right, we see a close up of a gun slightly tucked underneath a pillow in the mise-en-scene. The blades of a ceiling fan can be heard as the scene briefly layered on before cutting to a single layered shot of our protagonist.
Once again he is framed upside down. The ceiling fan can still be heard as he begins to open his eyes and blink. The cinematography is quite dark and the scene is quite warm toned. It cuts to a shot of the ceiling fan and pans downward as a pov shot and then reverses back to a close up of his face. The diegetic music begins to die out as the ceiling fan sound grows louder. The camera shakily pans closer towards the blinds through a pov shot and the blinds lift open.
Here the director intends to convey the message that our protagonist is haunted by his war experience. He closes his eyes and he hears the haunting sound of the helicopter propellers replicated by the ceiling fan. He opens his eyes and still he hears this noise. the director is emphasising the effect that destructive war has on the soldiers.
Casablanca follows the rules of the traditional editing style, whereas in Apocolypse now, Coppola breaks these rules. Straightaway, from the beginning, Casablanca starkly contrasts Apocalypse Now, opening with a narrator explaining the cultural context of the time. Furthermore, when our characters are introduced in Casablanca, Curtis ensures that the audience is aware of who is being introduced. He follows all the rules of continuity editing and his cuts are sleek and clean. Coppola introduces a distorted kind of effect with the mist and layering in his scenes, and as a whole, although his work proves to be thought provoking, visually beautiful and aesthetic, it's quite messy in comparison to Casablanca.
Initially, the audience is confused as to who this mysterious layered face is, whereas In Casablanca the audience is waiting to meet Rick whom they've already heard so much about. It is evident that from the offset the two movies differ.
More helicopters pass through. First from right to left in the distance and then left to right in the foreground of the shot. An extreme close up of our protagonists face is then layered and framed upside down on the shot and he's looking rather sweaty. Another helicopter and another set of landing skids can be seen passing through the mise-en-scene before the blades of a ceiling fan are layered into the shot, replicating those of the helicopter. The scene begins to transition with the fan slowly fading away as a new background enters the scene with the protagonists face still layered. The screen momentarily goes very dark during this. The cinematography allows for the face to only just be seen. A blue sky can faintly be seen as another helicopter passes. Just as the tail of the helicopter can be seen leaving the scene, it very elegantly shifts into the next scene.
The cool toned sky from the previous scene can be seen in complete contrast to the warm toned fire now panning from right to left. Leaves from the pam trees can be seen slowly falling to the ground emphasising the destructive nature of the atmosphere, and the protagonists face can still be seen as he takes a drag from a cigarette. The haunting voice of Jim Morrison can still be heard as the diegetic music pursues.
Another image is then layered on the screen; a stone passageway of a buddhist face that re-appears near the end of the film manifests itself onto the screen whilst violent flames ascend into the air covering half of the characters face who conveys a slight green tint. The scene can be symmetrically slit up into thirds, which each layer occupying their assigned space whilst bleeding into each other. The flame begins to attenuate as the other two layers fade away. Another flame can be seen appearing in the exact same position in the next scene.
Two more helicopters pass concomitantly, emerging from different directions. A grey mist now fills the screen as the flame continues to burn. A layered image of the ceiling fan returns as the fire shifts to the bottom left. The ceiling fan projects it's whirring drone as the setting changes. We now have an elevated shot of the character laying in bed whilst the flame is still faintly layered on. The camera begins panning extremely slowly around the face, so that eventually he is no longer upside-down. More layers surface as we see yet again another helicopter pass from left to right. The protagonists face fades away as darkness momentarily fills the screen. The camera then begins panning from left to right across his bedroom.
The fire blazes on in the left corner as more helicopters proceed through the shot. Various magazines and books can be seen as the camera is panning. A close up of the characters hand enters the shot. The panning continues and some palm trees- surprisingly not burning up in flames this time- are layered on. Two helicopters pass at divergent distances as the panning reaches our characters face. He sleeps whilst the camera is still moving and the song is still playing. The scene fades into another yet the camera continues panning the same way. A half empty drink and a lighter can be seen in the mise-en-scene. A layer of the character holding a cigarette is layered on for a brief moment before fading completely into that cut. Still panning from left to right, we see a close up of a gun slightly tucked underneath a pillow in the mise-en-scene. The blades of a ceiling fan can be heard as the scene briefly layered on before cutting to a single layered shot of our protagonist.
Once again he is framed upside down. The ceiling fan can still be heard as he begins to open his eyes and blink. The cinematography is quite dark and the scene is quite warm toned. It cuts to a shot of the ceiling fan and pans downward as a pov shot and then reverses back to a close up of his face. The diegetic music begins to die out as the ceiling fan sound grows louder. The camera shakily pans closer towards the blinds through a pov shot and the blinds lift open.
Here the director intends to convey the message that our protagonist is haunted by his war experience. He closes his eyes and he hears the haunting sound of the helicopter propellers replicated by the ceiling fan. He opens his eyes and still he hears this noise. the director is emphasising the effect that destructive war has on the soldiers.
Casablanca follows the rules of the traditional editing style, whereas in Apocolypse now, Coppola breaks these rules. Straightaway, from the beginning, Casablanca starkly contrasts Apocalypse Now, opening with a narrator explaining the cultural context of the time. Furthermore, when our characters are introduced in Casablanca, Curtis ensures that the audience is aware of who is being introduced. He follows all the rules of continuity editing and his cuts are sleek and clean. Coppola introduces a distorted kind of effect with the mist and layering in his scenes, and as a whole, although his work proves to be thought provoking, visually beautiful and aesthetic, it's quite messy in comparison to Casablanca.
Initially, the audience is confused as to who this mysterious layered face is, whereas In Casablanca the audience is waiting to meet Rick whom they've already heard so much about. It is evident that from the offset the two movies differ.
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