Apocalypse Now Redux
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Music CD Cover
Composer: Various ArtistsComposer: Carmine / Coppola, Francis / Hansen, Randy Coppola
Composer: Carmine / Coppola, Francis / Hart, Mickey Coppola
Composer: Doors
Composer: Dale Hawkins
Composer: Richard Wagner
Conductor: Carmine Coppola
Conductor: Georg Solti
Orchestra: Vienna Philharmonic Orchestra
Performer: Richard Beggs
Performer: Darice Ellis
Edition: Music CD
Format: Original recording remastered, Soundtrack
CD Release Date: 2001-07-31
Music Label: Nonesuch
Soundtracks:
- The End - The Doors
- The Delta
- Dossier
- Orange Light
- Ride Of The Valkyries - The Vienna Philharmonic Orchestra/Sir Georg Solti
- Suzie Q - Flash Cadillac
- Nung River
- Do Lung
- Letters From Home
- Clean's Death
- Clean's Funeral
- Love Theme
- Chief's Death
- Voyage
- Chef's Head
- Kurtz Chorale
- Finale
Free Music Notes for Apocalypse Now Redux
Free Music Review: Stil Strange After All These Years
Hit: 3 Stars
The soundtrack to "Apocalypse Now" has probably undergone as much remixing, remastering, revising and restoring as the film it's derived from. According to the liner notes, director Francis Ford Coppola originally approached Japanese composer Isao Tomita to do an all-electronic score for his epic Vietnam film. But due to prior commitments and the laborious nature of his work, that was impossible. Instead, he collaborated with his father Carmine on a symphonic score that would then be played into the latest (for 1979) synthesizers. With additional sounds courtesy of the Doors, Jimi Hendrix, Wagner, and U.S. Army helicopters. Mickey Hart of the Grateful Dead also contributed various percussion effects that eventually became an album of its own ("The Apocalypse Now Sessions"). The result is music just as strange and hypnotic as the movie. The Doors got a major career revival thanks to this film and the version of "The End" here gives you a true sense of the journey you, as a listener, are about to undertake. Coppola remixes the original song with electronically treated sounds of helicopters flying across your speakers, jungle crickets and generous use of echo. The "Redux" version pares everything down to the music alone, adding 2 tracks not on the original double album ("Love Theme" from the French Plantation sequence, and "Clean's Funeral") But the MAJOR drawback here is the absence of Martin Sheen's spooky narration from the film that really underscored everything happening and gave you a better context as to where you were in the film's story. I can only imagine what Coppola could do with the samplers and computers of today. But knowing Francis, as we read this he's probably in his underground bunker/wine cellar hunkered over a KEM editing machine with Hendrix on in the background preparing the "absolute final cut" (for now) of "Apocalypse Now".
Apocalypse Now Redux Poster
In the mid to late '70s, director Francis Ford Coppola put his career on the line to complete Apocalypse Now, his quixotic attempt to variously document, deconstruct, and mythologize America's military involvement in Vietnam. The end result was a troubling masterpiece and technical tour de force whose use of sound and music influenced films for decades. As originally released, the soundtrack album was equally groundbreaking: an intriguing, dreamlike collage of dialogue, sound effects, and music that both evoked the film's artistic sensibility and underscored the innovative, Academy Award?-winning efforts of sound designer Walter Murch.Two decades later, Coppola revisited the project, adding nearly an hour of previously unseen footage and revamping its soundtrack release as well. But while the film may have taken on fresh new dimensions, the new soundtrack album seems stripped of virtually all of Murch's key contributions. What remains is primarily music--and a telling argument for the notion that the whole is considerably more than the sum of its parts. Inspired by synthesist Isao Tomita's '70s classical adaptations, Coppola hired father Carmine to write an orchestra score, and then set about synthesizing it. The Doors' "The End" remains an iconic touchstone, but removed from the context of the film (and its original album release), much of the Coppola music all too clearly reveals its inspirations (Tomita, Holst, Wagner, Stravinsky) and the technical limitations of the relatively primitive synth technology involved (mirrored in a pair of newly recorded tracks as well). --Jerry McCulley
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