The Heart of Blandness
Note: The podcast is delayed. The day job sucked up all of my time the last two days, even most of last night, so I need to take a nap and then I will put the show together later today and get it posted. This is a green door post from earlier in the week that should hold everyone over until the show is posted.
One of the things about mass popular culture that is taken for granted, but is genuinely novel, is that pop culture artifacts come to symbolize certain eras. The Great Gatsby, which is a middling novel, is on the list of great novels because it seems to capture our popular conception of the roaring twenties. You read that novel in school because it helps understand the era from a pop culture perspective.
We do not have this for the time before mass popular culture. What is the song that defines the 1890’s? Funny you should ask as there are people who compile such things, but do any on this list make you think of the 1890’s? The songs we can hear from the early days of music recording just remind us of the time when recorded sound was just getting started, not any particular cultural era.
Era defining songs, movies or even television shows are products of mass popular culture, especially electronic media. When I hear All Along The Watchtower by Jimi Hendrix, I think about the late 1960’s. Leave it To Beaver is the defining television show of the 1950’s, despite not being very popular. Similarly, Apocalypse Now, which was released in 1979, is considered one the defining movies of the Vietnam era.
Oddly, the film is not about Vietnam or the war. John Milius wrote an adaptation of the Joseph Conrad novella The Heart of Darkness and set it in the Vietnam war, as that was a popular topic at the time. This allowed Francis Ford Coppola to play on baby boomer nostalgia and use a bunch of popular music from the period. It is also why it has become a defining film of the Vietnam era.
Whether or not Apocalypse Now is the best Vietnam war film is debatable. Many people think Platoon is the best of the Vietnam films. Full Metal Jacket is another iconic film about the era. The Deer Hunter is another candidate. Interestingly, all of the films on the list of best Vietnam war films were made long after the war. The worst Vietnam film was The Green Berets, produced at the height of the war.
As far as Apocalypse Now, which is the next film on the AFI top-100, it is hard to call it a great film without the cultural context. If it had been based in the Korean war, it is possible that no one would know about it. Much of its fame and popularity stems from the history in which it is set and the period in which it was made. The late 1970’s and early 1980’s was a time of reconciliation for the country.
The big problem with the film is nothing really happens. Benjamin L. Willard, played by Martin Sheen, is sent into the jungle to find renegade Colonel Kurtz, played by Marlon Brando, and then kill him. In theory he is going on a journey on which he will either learn something about himself or learn something about the human condition. Instead, he is the same guy at the end as he was at the beginning.
The Conrad story, in contrast, is about how a similar journey changed the man telling the story in ways he was never able to fully appreciate. He was changed by going to the deepest, darkest parts of Africa, but by the end he is still struggling to fully understand what he witnessed. He saw the great horror of the human condition, but he does not know what to do with what he learned.
In this film, we know nothing about Willard, other than he is a deeply cynical person, presumably from having served in the war for a long time. His experiences along the journey do not make him question anything about himself. He was sent to kill Kurtz and he never wavers from his mission. In the end he kills Kurtz, but not for some new reason he discovers as part of his journey of self-discovery.
At the risk of engaging in generational politics, this film is quintessential baby boomer high culture in that it operates at a superficial level. Everyone in the film is just what they are, experiencing things that never seem to have any impact on them. Like the intended audience, Willard just collects a bunch of new experiences. He did stuff. He did not live his life in any way that anyone would find interesting.
This film reminds me of the sketch concept in writing. The point is to create a character by putting him into situations in which his reactions to those situations tell us about the character. There is no character development. The situation matters only as a way to describe the character. It is a good way to record the present moment or establish the start to a story, but otherwise meaningless.
That is why this film probably belongs on the list of great films. Again, at the risk of engaging in generational politics, this film captures the essence of a generation even though it does not set out to do so. The generation for which this film was made set out, to some degree, to discover the essence of life, to taste the marrow, but instead indulged in meaningless gestures and pointless activities.
That is what the makers of this film ended up doing. It started with great ambition to bring the Conrad story to film, but in the end, it was just lots of impressive scenes and performances, but totally devoid of meaning. The viewer has no reason to think about Kurtz or Willard after their story ends. The film, like the lives of the characters, and perhaps the intended audience, leaves no impression.
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