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Apocalypse Now WORKPRINT 1979 [No_Timecode] {REMASTERED}

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 							Sorry for the wait but it was worth it, I wanna first give big shout out and credit to *JAWS3D* for taking the
time and helping me on the audio. He did an amazing job cleaning the original soundtrack and without his help this
wouldn't have been possible. *JAWS3D* THANK YOU BUDDY!!! RUNNING TIME: 05:07:18
 
  This is the 720 version
under 4GB!!! & COMPLETE with ENDING! 
  
  I did my best on the original video, which the picture size was
300X150. 
 
  AGAIN THIS IS A WORKPRINT NOT DVD/BLURAY QUALITY
  please ENJOY, SEED AND LEAVE
FEEDBACK!!!!! Workprints, rough versions of films before the editing process kicks in and trims out all the material
deemed surplus, are considered priceless memorabilia among filmlovers. The 5-hour-long version of Francis Ford
Coppola’s Apocalypse Now, moreover, is considered to be the Holy Grail among them. Now, we’re excited
beyond words to share with you the 289-minute version of this classic picture. Just so we give you time to let it sink
in—if the theatrical release print lasted 153 minutes, and if the Redux issue offered 202 minutes of the film,
this means this rough cut gives us the priceless chance to enjoy an additional hour and a half of Coppola’s
groundbreaking study of human nature. Before you start enjoying this highly educational ride, let us prepare you for
what you’re about to witness.
 
 It became a famous fact that it took almost two years for Coppola and
his editors to cut down a million feet of film and turn it into the movie filmgoers got to know back in 1979. What this
workprint offers is an invaluable insight into the filmmaking process, shedding light on what kind of decisions Coppola
was forced to make as he labored to get the film done. It’s exhilarating to see practically everything the crew
filmed during the extremely tough production period in the Philippines, and it’s even more enlightening to
witness what exactly failed to find its place in the final version of the film, cut out and ignored because Coppola
decided the material, as exhausting as it was to film it in the first place, did not enrich the story. One of the most
important things that Coppola cut, at least according to our opinion, is the political aspect of the film: scenes in
which characters criticize the US involvement in Vietnam. It was apparently decided the film would benefit more from
concentrating on psychology and human nature. And who’s to say Coppola made a bad call?
 This exact list of
the differences in this workprint and the original release has been cruising the web for about ten years, and can be
found on numerous forums, tracker websites, and so on. We’re not able to credit the author of the text, but do
not in any way mean to imply these are C&B’s words. If anyone knows the name of the author, we encourage you
to let us know so we could acknowledge it in the article. Enjoy the ride, folks. We certainly have.
 

WHAT’S DIFFERENT IN THIS WP
 â—¾A longer opening montage, the entire 10 minute song The End by The Doors
is heard. It intercuts longer helicopters/jungle images with Willard in the hotel room in a drunken rage, as well as a
scene where he is with a prostitute. There are various shots outside depicting the streets of Saigon.
 â—¾When
the two soldiers pick up Willard in the hotel room there is a brief conversation while they help him shower and shave.
They notify him that his wait for his new mission is now over.
 â—¾The scene where Willard is given his
assignment is longer and contains much more dialogue. The general informs Willard that the mission is purely voluntary
and he can decline it. The general also offers Willard a promotion to major upon completion of the mission. For some
reason Colonel Kurtz is referred to in this scene as ‘Colonel Leevy.’ There are some external shots of the
military base.
 â—¾A brief scene where Willard is introduced to the crew of the Navy P.B.R.

◾Carmine Coppola’s score is not present in this version. Many more songs by The Doors are played throughout
the film instead.
 â—¾None of the narration or dossier voiceovers are in this version.
 â—¾There is no
audio dubbing in this version. All the audio is from the sound recorded during the actual filming. Much of Robert
Duvall’s dialogue is unitelligable due to the sound of the helicopters in his scenes.
 â—¾A much longer
first cavalry ‘Ride of Valkyrie’ attack scene (30+ mins) showing much unused footage and alternate
takes.
 â—¾A much longer playboy bunnies performance.
 â—¾Various extended scenes on the boat, and
alternate takes and shots.
 â—¾A scene where a miniature toy boat passes the Navy PBR. Lance tries to grab it
out of the water. The Chief yells at him to leave it alone claiming it’s a booby trap. To prove it the Chief
fires some shots at it to which it explodes.
 â—¾When the P.B.R. reaches Do-lung bridge, the soldier that
greets them gives a more detailed explanation of the chaos around the bridge.
 â—¾When Lance is reading his
letters on the boat, he suddenly stops to machine gun a water buffalo on the shore. The Chief yells at him to stop.
 â—¾The sequence where Clean is killed is omitted.
 â—¾A slightly longer French plantation sequence.
After the French woman strips she crawls into the bed with Willard and they begin kissing.
 â—¾The sequence
where the Chief is killed is omitted.
 â—¾More dialogue between Willard and the photojournalist when they first
reach the Kurtz compound. The Journalist reveals that it was HE who was able to get the montangnards to break off their
attack on the boat in the previous scene. Willard repeatedly asks the Journalists name but he refuses to answer.

â—¾The character of Colby, (the soldier who was sent before Willard to kill Kurtz, played by Scott Glenn) has a much
more substantial role in this version. As Willard inspects the compound, Colby tells Willard that the night before, NVA
soldiers had attacked (which explains all the bodies laying about the compound). Willard then enters Kurtz’s
house, much to the dismay of the journalist. Willard sees Kurtz empty bed and his medals, also his journal with the
inscription ‘Drop the bomb, exterminate them all’ (many of these scenes were in the final version but
re-inserted in different places).
 â—¾The scene where Willard talks to Chef about the air strike on the boat is
omitted.
 â—¾The first time Kurtz appears is the scene where a mud caked Willard is tied up (seated) to a pole
in the rain. Kurtz appears with camouflage face paint, Willard asks… “Why he is being mistreated?” and
tries to bluff his way past Kurtz by telling him that he had just completed a secret mission in Cambodia, and only
stopped for supplies. Kurtz says nothing to him, but plants Chef’s head in his lap. (Only a portion of this scene
was in the original version).
 â—¾The scene where Willard meets Kurtz in his bed chamber contains more
dialogue… as Kurtz makes it clear that he knows why Willard is there.
 â—¾A scene where Kurtz talks to
Willard in the bamboo cage while two children sit on top of the cage and dangle insects in Willard’s face. He
tells him that Willard is “like his colleagues in Washington, master liars who want to win the war but
don’t want to appear as immoral or unethical.”
 â—¾A lengthy scene where the montangnards in a
ritualistic display pick up the bamboo cage (with Willard inside) and poke him with sticks (Lance and Colby participate
in this). The natives dance around the bamboo cage, chanting and singing while a squealing pig is tied up and killed.
 ◾A 10 minute version of the scene where Kurtz reads the poem ‘The Hollow Men,’ intercutting
between his reading and the journalist talking with Willard.
 â—¾A scene where the journalist meets Willard to
tell him that he thinks Kurtz is about to kill him because he took his picture again. During which Colby comes behind
the journalist and shoots him three times, killing him. Willard throws a knife at Colby’s stomach to which he
falls, but before he dies he asks Willard to talk to his family for him and asks him to kill Kurtz.
 â—¾Kurtz
speech about the horror and the children vaccination are omitted.
 â—¾During the assassination scene at the
end, before Willard enters Kurtz’ home, one of the guards confronts him. Willard picks up a spear to defend
himself as the guard picks up a child to shield himself. Willard runs the spear right through the child and into the
guard. The final scene with Willard and the montangnards after Kurtz assasination are omitted. Rough Cut Assembly vhs
contained: 
 
 Martin Sheen's hotel room drunken spree seems to have been accomplished by letting the actor
get totally blasted and then turning a camera on him for hours on end. The raw material for this and other
'unstructured' scenes goes on forever. 
 
 The sheer brilliance of Coppola and his editors is their bold
restructuring of all this filmed material. Excellent decisions, jettisoning where necessary entire scenes that may have
taken weeks to film, transformed this rough cut into the final film. All manner of literal arrivals, departures,
introductions, exposition scenes were dropped. If there had been a 'studio' in a position to yank the troubled film away
from its director, the rough cut shows that journeyman editors could have assembled APOCALYPSE into a numbingly literal
sequence of events. 
 
 Most of the famous 'cut' scenes are there. The scripted scene where the boat comes
upon the marooned USO troupe, the one with the Playboy Bunnies, is a drab and lifeless series of cuts. In it the
soldiers trade the Playboy promoter gasoline for his helicopter, for sex with the Bunnies, but the whole business is
very unmemorable. Instead of the expected 'hot stuff', this material looks like filming designed to keep the company
busy while Coppola figured out what to film next. This and other rambling and seemingly pointless scenes where the
soldiers appear to be improvising their dialog might also be cover scenes shot to give the construction crew time to
rebuild sets wiped out by the hurricane depicted in the documentary HEARTS OF DARKNESS. 
 
 The French
Plantation scenes that were the revelation of that documentary are far longer and lack anything like focus, meant to be
made coherent at a later stage of post. Martin Sheen might (?) make love with the wife of the Planter ... 
 

The big action scene, the helicopter attack on the village, is shown in a breathtaking series of unedited mastershots,
any one of which shows up to a minute of incredibly well-coordinated flying, stunts, and special effects. Each stands
alone; watching them end to end is forty minutes of amazement. Savant would surmise that Coppola clearly knew he had the
greatest battle of all time, and left the master shots as a place holder. Actually cutting the scene could wait until
major structural issues were addressed. 
 
 One memorable detail about the battle is the music used for the
rough cut. The long flight to the village was temp-scored with Venus from Tomita's The Planets, a 70's synthesised
version. The original score eventually arrived at for this section of the film has some heavy borrowings from the Tomita
recording, almost but not quite sounding 'sampled' at one or two moments. 
 
 Some remarkable footage, I'd say
more than an hour, was lost from the part of the film set in Kurtz's armed camp. There is a 'mud dance' where the entire
Montagnard tribe dances to the accompaniment of primitive instruments. Sheen and the other soldiers join in and it looks
like a genuine hippie/primitive happening that so many would-be flower-power films (Magical Mystery Tour) failed to
achieve. On its own it would make an impressive 40 minute film! 
 
 One confusing collection of action scenes
depicts Martin Sheen being stalked by Scott Glenn, who plays the assassin who preceded Sheen on an identical mission.
Instead of 'terminating' Kurtz, Glenn flipped out and joined Kurtz'es psychedelic army. His role in the finished film
eventually boiled down to one shot and a photo glimpsed in Sheen's dossier of orders. Savant can't rightly recall
exactly what happens, but both Glenn and Dennis Hopper are killed. Hopper may die trying to keep Glenn from killing
Sheen; the memory has faded. 
 
 The tape ends before the murder of Kurtz. Perhaps at the point this rough
assembly was transferred to tape, the ending of the film was still a big Unknown. Sheen's creeping assault on Kurtz's
quarters is intercut with yet another hypnotizingly primitive dance ritual and temp-scored with Doors music.
Particularly disturbing is a shot where Sheen surprises a Montagnard holding a baby. In silhouette, the action appears
to depict Sheen killing the native with a machete stroke that cuts the baby in two.
 
   						

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