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Drama, Action, History, War
IMDB rating:
Francis Ford Coppola


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Marlon Brando as Kurtz
Martin Sheen as Marlow
Robert Duvall as Lieutenant Colonel Bill Kilgore
Frederic Forrest as Jay 'Chef' Hicks
Sam Bottoms as Lance B. Johnson
Laurence Fishburne as Tyrone 'Clean' Miller
Albert Hall as Chief Phillips
Harrison Ford as Colonel Lucas
Dennis Hopper as Photojournalist
G.D. Spradlin as General Corman
Jerry Ziesmer as Jerry, Civilian
Scott Glenn as Lieutenant Richard M. Colby
Bo Byers as MP Sergeant #1
James Keane as Kilgore's Gunner
Apocalypse Now Storyline: It is the height of the war in Vietnam, and U.S. Army Captain Willard is sent by Colonel Lucas and a General to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, Walter Kurtz, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes Kurtz has gone completely insane and Willard's job is to eliminate him! Willard, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-Colonel Kilgore, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Willard, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will...
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Those AWFUL added scenes in "Redux"
I'm starting to get weary when I hear the term "director's cut". Some are good like Ridley Scott's "Blade Runner" but William Friedkin totally screwed up the end of "The Exorcist" in his restored version, but this is even worse. "Apocalypse Now" was very well made and it seems that Coppola who was in his creative prime when he made the film (having completed "Godfather I & II" and "The Conversation" and then never coming even close to anything compelling after that) simply decided to desicrate this film. He should have realized that he was a much better director when he made "Apocalypse Now? then he is at present, and that he cut out the scenes in question for good reason.

-I like the extra footage of Col Kilgore, but having Willard steal his surfboard and then laugh with glee like a frat boy was totally not in his character and it was best left on the cutting room floor.

-The playboy bunnies extra scene is beyond ridiculous. It wasn't even inserted into the movie correctly. One minute it's a sunny day Willard is reading Col. Kurt's letter to his son and looking at a photo of Kurtz, and then suddenly it's raining and they come across the army camp. Willard offers two drums of deisel fuel in exchange for sex for the boys on the boat. Again..totally out of character for Willard, and completely unbelievable as a whole. Theres a five minute awkward scene with the men and the bunnies and then FLASH their back on the boat again, it's not raining anymore and Willard is staring at the same photo of Kurtz again, terrible editing!! Afterwhich is the scene where they come across the Vietnamese supply boat and kill the passengers. The impact of this scene is taken away as the motivations of the crew are not as understandable anymore. Also when Willard kills the injured Vietnamese woman because he's in a hurry to get moving, makes no sense now. He wasn't in too big a hurry in the previous scene having made the deal for the men to have sex with the bunnies????

-The French Plantation sequence is too looooonngg. Willard (at their dinner table) asks why the family is still in Vietnam, to which he gets a TWENTY MINUTE answer by everyone at the table as they yell back and forth at each other. He then SUDDENLY ends up with this French woman while the soundtrack spews very sappy music. I was wondering what happend to the movie during this entire sequence....the river....the war....colonel Kurtz???? After watching this awful sequence I said to myself "the horror, the horror".

-The extra scene with Brando reading Time Magazine is also pointless. Also seeing the Kurtz character in broad daylight, instead of the shadowing figure that we were limited to in the original version takes away his foreboding.

All these scenes add nothing to the film except extreme length. I tend to like long movies but not when they are injected with pointless scenes, the movies previous 2 1/2 hour length was perfect for it. I will keep my old original DVD of "Apocalypse Now". I hope some day they release a two disc set of this film. It will have the original version in the 2:35 to 1 aspect ratio. And another disc with trailers, "Hearts of Darkness a filmaker's Apocalypse", and they can even throw in the extra "Redux" scenes in a deleted scenes option just for laughs.

STICK WITH THE ORIGINAL!!! As far as "Apocalypse Now Redux" goes, for me, this version does not exist...nor will it ever exist.
Coppola's Masterpiece
Francis Ford Coppola's masterpiece was a great ending for a golden decade of American cinema. In the 1970s there was an atmosphere of tolerance, open-mindness, and progressiveness among the studios that allowed the making of major films by a few of the best directors that the United States has ever had. I am not a historian, but all the events that preceded the decade (a few being the violent deaths of major figures of the American political and cultural scenes, the racial struggles, the emergence of the 1960s counter-culture, the increase of violence and death in the streets...) seemed to influence the vision of filmmakers who were willing to dare, be different, and create entertaining and intelligent motion pictures. Coppola's film is a strange blend of humanistic thinking and skillful film-making, following the parameters of war and adventure films, and at the same time subverting them with its flowing reflections on the value of life, the reason of death, or the ethics of war. It is also a passionate work, made against all odds, chronicled in the 1991 documentary "Hearts of Darkness: A Filmmaker's Apocalypse"; a motion picture that went beyond any previous reflection on the Vietnam war ever to reach the screen. This may not be the definite Vietnam motion picture, but dealing with it Coppola defied the formula of classic melodrama found in two Vietnam movies made simultaneously, "The Deer Hunter" and "Coming Home", or in latter ones as "Platoon" and "Casualties of War", before Vietnam became the starting point to make products of any genre, as horror in "Jacob's Ladder", or comedies as "Good Morning, Vietnam", among the more respectable. Coppola had the courage to take that economic and political conflict as the background of a search for answers to questions faced by any man every day of his life, without betraying the dramatic consequences of that war.
A true masterpiece
First of all, if you haven't seen this movie you've been wasting your time watching others. I highly recommend this film to anyone who likes cinema. It is violent, complex and long, but nothing is gratuitous. So if you haven't seen it, stop reading this commentary (yep, SPOILERS AHEAD) and do yourself a favor.

This movie is one of those war classics that don't focus so much on the war, kind of like Stanley Kubrick's "Paths of Glory". It follows Willard's journey into Cambodia, into his very own soul and into madness. His search for Kurtz teaches him that the man he was sent to kill knows much more about the war than those who are in charge. By the end of the film, Willard has become Kurtz, sharing his madness. But what the generals call insanity turns out to be the clairvoyance that only a man who has seen the "horror" can possess.

I think "Apocalypse Now" is by far superior to Conrad's short story, "Heart of Darkness", from which it is freely adapted. They share the same construction but while Conrad's story tends to be too slow until Willard reaches Kurtz, Coppola's film is never boring. This is probably due to the fact that Willard's companions have greater roles in the film. Each of the characters on board the boat is interesting in his own way. Of course, the acting is responsible for this, Kilgore and the photojournalist are two great minor characters.

Visually, the movie is beautiful, the cinematography gets more more and more beautiful as the film goes on. The stylised lighting is so stunning, especially towards the end.

Last but not least, Martin Sheen and Marlon Brando's performances are perfect. Sheen's minimalist approach reflects Willard's empty and goalless life while Brando's acting and Coppola's directing make Kurtz one of the most captivating characters in the history of cinema.

Apocalypse Now is simply one of those movies everybody should watch.

One of the Best Films In the History of Cinema
It is difficult for me to write a comment for "Apocalypse Now". The numerous reviews that have been made by prestigious critics and experts about this monumental film since its release, make my comments seem a bit redundant. Nevertheless, I strongly feel obliged to submit some thoughts about this fantastic movie.

First of all, I subscribe to the view expressed by many, that "Apocalypse Now" is one of the best films in the history of cinema. It combines many things: Drama, action, emotions, art, mysticism, scenery, philosophy, are some elements that come in mind when one talks about "AN". In fact, there are so many angles that this film can been seen through, that it is nearly impossible to categorize it: Is it a war film? Is it a philosophical one? Is it an art movie? "AN" partially fits in lots of categories, and doesn't fully fit in any one of them at the same time...

Under the masterful direction of Coppola, "AN" recounts the story of Capt. Willard (Sheen), who while serving in Vietnam, is ordered to carry out a rather unconventional mission: He must find and "terminate" Col. Kurz (Brando), an erstwhile brilliant officer, who has now gone insane; Kurz has gathered a private "army" by locals who worship him like a god, and he has disappeared with them somewhere in Cambodia. Willard begins his journey with a handful of accompanying sailors, and during their voyage they encounter several surreal situations. Moreover, Willard, who is in the border of insanity himself, studies the file of Kurz and starts to deeply admire the man. What will happen when he finally meets him?

I wouldn't need here to say anything about the breath-taking performances of Martin Sheen and Marlon Brando, as they are the point of reference for many drama classes. I would only like to add that ALL the performances in "AN", are worthy of the film's status.

There many things to be said about "AN", and as I explained in the beginning, if someone wants to explore further, there are several sources to look at. The only thing I would like to add here before concluding is that this is a film which will never lose its beauty, no matter how many years pass. 10/10.
Spoils Of War
You can find an anti-war statement here without looking too hard; that layer is hackneyed. Or you can find a value neutral comment on the madness of war (stripped of "judgement"); that layer is completely uninteresting.

Or you can watch this for the darn good entertainment value of Duvall's one-liners, but that's just a coating for commercial mastication.

You can try to view this as a 'realistic' Vietnam war film, but ask any veteran and he'll swat down that notion -- most vets will say it stinks.

Or view it as a 'will he or won't he' morality play -- nothing rich there, either.

Where I found the value was in the superb self-reference. Coppola needed a container with great enough dimensions (the war) to fit the greatness of the skilled multi-dimensional actor playing 'a great man'.

Brando the man was as much of a maverick as the Kurtz character. The studios were uncomfortable with his acting 'method', yet he always excelled and won accolades; the 'generals' are uncomfortable with Kurtz's 'unsound methods', in spite of his strategic genius.

So Coppola makes a movie all about Brando's greatness. To hammer on the point, he places himself in the movie (as Hopper, a manic photojournalist laden with multiple cameras) to spout his praises. Brando himself is only seen in half-light and silhouettes -- brilliant cinematography by Storaro that only increases the actor's power. And he goes out like the sacrificial bull to complete the narrative equation. Oh, yes: "the horror..."

Other pieces of interest: the great use of point of view camera perspectives, including 'being in the firefight' long before "Private Ryan"; the ground breaking use of sound, notably the ominous flanging sweeps and the sonic depiction of an acid trip.

Don't get caught in the outer layers; the rich part you should despoil from this is the brilliant core of sound, vision and self-reference.
This movie was filled with melodramatic acting, bad humor, horrible character development, no action, sub-par editing, awful music, and oh yes the Redux version is over 3 hrs long! I loathe this film, and will never understand its appeal. Come to think of it I'll never understand the appeal for the Godfather either. Give me Goodfellas any day. I think Francis Coppola is the most over rated Writer/Director of all time. Give me Robert Zemickis or Steven Spielberg and I'll be a happy little boy. Whatever "it" is that people see in his movies I will never understand. You know what I think... It was the 70's and everyone was on drugs. That must be the reason why everything was so weird. I know people are gonna respond to this and say "You just didn't get it." I got it. I got the whole stupid movie. And I thought it stunk.
The Greatest American Movie I Have Seen
The performances of the entire cast are only one aspect of the greatness of this film. The cinematography, the investment of time, people and ordinance, the color, the light!!!!! Who has ever produced the color and light on FILM of scenes such as the ones where Kurtz is partially illuminated in the darkness of his compound? The stunning combination of visuals, sound, and music; the hypnotic quality of the story with the heat and wet of the jungle; the profligate use of alcohol and drugs, and the indecent horror of the madness of the Vietnam conflict create a surreal, moving, and larger than life fable with example after example of archetypal dialog. "Never get off the boat!" "They were going to make me a Major for this. And I wasn't even in their . . . Army any more." "A little fishing accident on R&R." Thank you, Francis Ford Coppola. Thank you Writers, Cinematographer, Producers, Cast and Crew for this mind-bending and terribly beautiful meditation on the madness of war.
Best war movie ever!!!
Brilliant actors and brilliant picture!! I love the chopper scene with the music in the beginning, it is just SO touching and at the same time real but at the same time surrealistic! The Vietnam War was far from human and I believe this movie kind of shows have terrible human beings can act under certain circumstances. Modern war movies are spending so much money on effects. This is just a straight forward smart movie that takes you beyond your imagination. A movie that really pictures evil and hate mixed in fearness and fate. How insane the world is and the power of will and friendship, love and passion. A must seen movie and without any doubts the best war movie ever! Many tried to copy but still there are no movie even close as good as this!!
Warning! Will give you a headache
Disturbingly insane and boring, as it came highly rated, I forced myself to watch it till the end and ended up feeling I wasted 2.5 Hours of my life. Cinematography and lighting may be top notch only if you have the stomach to watch it till the end. there are better movies on war and violence if that's what you like.
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