Thursday, April 30, 2026
1975 Saigon fell & became Ho Chi Minh City
1977 Human rights group Mothers of the Plaza de Mayo began protesting at the forced disappearances of thousands, under the Argentine dictatorship of Jorge Rafael Videla
2015 Bernie Sanders announced he would seek the Democratic nomination for President
2021 45 were killed and 150 injured in a crush of people at the Israeli Lag B'Omer festival at Mount Meron
2025 The United States and Ukraine signed the Ukraine–United States Mineral Resources Agreement to share profits from the future sales of Ukraine's mineral and energy reserves
In bed by 10, up at 6:15; 0625 138/73/47 110 205.4; 38/45/35, sunny
Morning meds at 9 a.m.; Bisoprolol half-dose at 7 a.m.
Apocalypse Now Redux. There are many times when I wish I were smarter, more on the ball, less obtuse, a person with greater insight and understanding of what's going on. Those times include when I don't get jokes on SNL, or on late night monologues, or when I read a poem that is comepletely indecipherable to me, or see a movie that I don't understand. I sort of have that feeling about Apocalypse Now. I think I get the big picture, i.e., that it's an indictment of American popular culture, and of our national hubris about our role in the world and what great things can be wrought with our immense military and economic weight. It's no secret of course that the movie is a clever adaptation of Joseph Conrad's Heart of Darkness from the jungles of the then-Belgian Congo to the jungles of Indochina, and from European economic exploitation to American military exploitation, from the hypocrisy of Western European civilization to the hypocrisy of American 'exceptionalism,' etc. I especially enjoyed Col. Kurtz pointing out the hypocrisy of our military and poltitical leaders forbidding our airmen from writing "Fuck" on the fuselage of our aircreaft that drop napalm and white phosphorous bombs on human beings: "We train young men to drop fire on people, but their commanders won't allow them to write "fuck" on their airplanes because it's obscene!" When I was in Vietnam, seven days a week for 33 weeks or so, I and my team kept track of thousands, I suppose tens of thousands, of our aircraft leaving and (mostly) returning from missions during which they dropped fire, and high explosives, and poisons on tens of thousands of human beings, human beings we were taught in our churches and many schools were "children of God," and "our brothers and sisters," and "our fellow men," and we did it with as much emotion and moral compunction or qualm as if we were keeping track of a factory's inventory of nuts, bolts, or sheet metal. We flew into Vietnam with our rifles, heavy artillery, bullets, bombs, and herbicides and as if we had a perfect right to do so. In the 'land of the free and home of the brave,' our government plucked young men off our streets, out of their workplaces, and out of their schools to train them to become killers of strange men and women and children thousands of miles away, men who posed a threat to our young men only because our government put them 'in harm's way.' Anyone who knows me at all knows how I feel about our government and what it did in and to Vietnam, what it did to the young men it sent to Vietnam, and to their families. Thus, it's obvious that in the main I am glad that John Milius wrote Apocalypse Now and that Francis Coppola turned it into the movie that showed at least some of what the war was like. That said, however, I wonder whether they went overboard in their depiction. I write 'I wonder' because I don't have a strong judgment about it. To be sure, they depicted a hell on earth, and for those victimized by it, war can surely be a hell on earth. And the most vivid image of Hell is fire, but the semi-ubiquity of fire in the movie seemed really gratuitious. And what are we to make of the ritual slaughter of Col. Kurtz, much like the simultaneous ritual slaughter of a water buffalo by the montangards? And what of the idea that the government has professional assassins in the special services? Capt. Willard already had six assassinations notched on his .45 when he received the mission to assassinate Col. Kurtz. And what of the assignmen to one man, armed only with a .45 pistol, to travel into Cambodia to kill Kurtz, who was surrounded by an army of loyal montangards? I know these comments are incoherent, that they don't make much sense, and one doesn't follow from another, but it seemed to me on second viewing that the film doesn't quite hang together, that it sort of falls apart once Willard arrives at Kurtz's camp. It's probably me being not smart enough or educated enough to get it as a work of genius, but I don't understand the title, Apocalypse Now. Wikipedia says "apocalypse" has come to mean a catastrophe "but the Greek word apokálypsis, from which it is derived, means a revelation." I don't get what, in the plot of the movie, was the catastrophe, or what was the revelation. Was it Kurtz's insight about the wisdom of the NVA/VC fores who chopped off the arms of the children who had been vaccinated against polio by his American special forces? That 'wisdom' seems to be that moral restraint is a liability in war, that the end justifies the means, and that in order to win, one must embrace or at least accept horror as a means and to use it without hesitation. Is this the point of the movie? Or is it a rejection of that? How about the means the Americans used? Assassination. Ritual slaughter. How about Willard's murdering the girl with the puppy in the sampan?
This was an act of murder by the hero of this film, as was his butchering by machete of Colonel Kurtz. What are we to think of these acts? What are we to think of the other 6 assassinatins that Captain Willard commtted before Kurtz? What are we to think of the general, the colonel, and the CIA agent who ordered it? Who were the heroes in this film? Were there any? Maybe "Chief"?












