Clean's Death Scene: What This Scene is REALLY About | Ep18 | Making Apocalypse Now

Summary

This episode of 'Making Apocalypse Now' delves into the ambush scene where the patrol boat crew is attacked while opening their mail. The video explores the deeper meanings, connections to Greek mythology, the experiences of Black Americans in the Vietnam War, and the challenges of filming this iconic scene. It highlights the parallels drawn by Coppola between war, leadership, and followers, as well as the eerie, surreal atmosphere that defines this part of the film. The video also touches on the significance of the French Plantation sequence and other behind-the-scenes details.

Takeaways

• 🎥 The scene in 'Apocalypse Now' where the patrol boat crew is ambushed while opening mail is rich with subtext and thematic significance.
• 📜 The ambush scene was one of the last things filmed, allowing director Francis Ford Coppola to incorporate the film's conclusion into the scene's direction.
• 💌 Mail in the script symbolizes the last contact with home, with Willard receiving a letter revealing a predecessor on the same mission who fell under Kurtz's influence.
• 📰 A newspaper article about Charles Manson parallels Kurtz's influence, suggesting a commentary on war as a brutal cause carried out by devoted followers.
• 📽 The film uses subtle cuts and visual storytelling to convey its themes, such as the comparison between Manson and Kurtz, and the horrors of war.
• 🌿 In an early draft, the crew's detour through a tributary filled with hyacinths is symbolic, with hyacinths representing jealousy, sorrow, and the request for forgiveness.
• 🎵 The soundtrack and visual effects during the mail-opening scene create a sense of foreboding, despite the crew's apparent lightheartedness.
• 🚤 The ambush is depicted with surreal visuals of tracer rounds, which are子弹 that leave a visible trail, adding to the scene's dreamlike quality.
• 🎬 The challenge of filming the patrol boat passing under a downed bomber plane involved creative problem-solving and adjustments due to weather and other production issues.
• 🖤 The death of Mr. Clean and the subsequent lack of a funeral in the original script reflect the harsh realities of war and the disposable nature of soldiers, particularly young and minority soldiers.
• 📚 The script and film are layered with references to Greek mythology, historical context, and the experience of Black Americans during the Vietnam War, adding depth to the narrative.

Q & A

What is the significance of the mail-opening scene in 'Apocalypse Now'?

The mail-opening scene in 'Apocalypse Now' is significant as it serves as a moment of connection to home for the crew and foreshadows the impending doom. It also reveals that Willard is not the first to be sent on his mission, hinting at the tragic fates of those who came before him.

How does the ambush scene relate to Greek mythology?

The ambush scene is indirectly related to Greek mythology through the mention of hyacinths, which originate from the story of the Spartan prince Hyakinthos, symbolizing jealousy, sorrow, and the seeking of forgiveness.

What is the connection between the Charles Manson article and Kurtz in the script?

The connection between the Charles Manson article and Kurtz is thematic, drawing a parallel between a cult leader with dedicated followers who commit acts of violence and Kurtz's influence over his followers in the movie.

What was the original purpose of the Do Lung Bridge sequence in the script?

In the original script, the Do Lung Bridge sequence was meant to be a surreal and hellish depiction of war, serving as a gateway to the alien and primitive world beyond, symbolizing the point of no return for the characters.

Why was the scene of the patrol boat passing under the tail section of a downed bomber plane challenging to film?

Filming the scene of the patrol boat passing under the tail section of a downed bomber plane was challenging due to the practical effects required, including the construction of the set piece, managing live monkeys, and dealing with weather conditions that affected the visibility of the support structures.

What was the role of Lance in the original John Milius draft of the script?

In John Milius's 1969 draft, Lance had a more prominent role, including a backstory about joining the Navy due to unrequited love, which was later cut from the script.

How does the script suggest a parallel between the Vietnam War and the experiences of Black Americans?

The script suggests a parallel by highlighting the disproportionate number of Black Americans drafted into the war and their placement in the most dangerous areas, reflecting the racial disparities and injustices they faced both at home and abroad.

What was the intended impact of Clean's funeral scene on the audience?

Clean's funeral scene, which was added in the Redux version, was intended as a tribute to the youth of America, particularly the many young soldiers under the age of 20 who died in the Vietnam War.

Why was the French Plantation sequence cut from the theatrical release of 'Apocalypse Now'?

The French Plantation sequence was cut from the theatrical release due to its length and the complexity of the scene, which included expensive and hectic filming conditions. It was later included in the Redux version of the film.

What is the significance of the 'sell the house, sell the car, sell the kids' letter in the script?

The letter signifies the extreme disillusionment and detachment of the previous operative sent on Willard's mission, foreshadowing the psychological impact of the mission and the influence of Kurtz on his followers.

Outlines

00:00

🎥 'Apocalypse Now' Mail Ambush Scene Analysis

This paragraph delves into the symbolic and thematic depth of the ambush scene in 'Apocalypse Now'. It discusses the crew's opening of mail, the historical and mythological references, and the technical challenges of filming. The scene, filmed last, foreshadows the movie's end and contrasts with earlier script drafts. It also connects to the Vietnam War's impact on Black Americans and parallels the real-life cult leader Charles Manson, suggesting a broader commentary on war and leadership.

05:04

🌿 The River's Resistance and the Hyacinth Symbolism

The second paragraph explores the crew's detour through a tributary overgrown with hyacinths, drawing a connection to Greek mythology and the symbolic meanings of the flower, such as jealousy and sorrow. The narrative describes the crew's experience as they navigate the river, with the music and visual effects creating a sense of foreboding. The ambush scene is analyzed, with the use of colored smoke and tracer rounds adding to the surreal and chaotic atmosphere. The paragraph also touches on the production challenges of filming the boat's journey under a downed bomber plane.

10:09

🏞 Reflections on Youth, Sacrifice, and the War's Impact

The final paragraph examines the aftermath of the ambush, focusing on the character of Clean and the emotional weight of his death. It discusses the original and workprint versions of the film, the significance of the funeral scene, and its implications for the portrayal of young soldiers in the Vietnam War. The paragraph also addresses the disproportionate impact of the war on Black Americans, drawing parallels to the crew's experiences and the broader societal context. Additionally, it provides insights into the film industry's challenges, such as the fate of certain movies and the implications of streaming services on cinema.

Keywords

💡Apocalypse Now

Apocalypse Now is a 1979 war film directed by Francis Ford Coppola, based on Joseph Conrad's novella 'Heart of Darkness'. The movie explores the horrors of the Vietnam War, focusing on the psychological and moral descent of its characters. In the script, the scene involving the patrol boat crew being ambushed while opening their mail is a critical moment that reveals deeper themes of war and personal loss.

💡Patrol Boat Ambush

The patrol boat ambush is a pivotal scene in Apocalypse Now where the crew is attacked while opening mail. This scene symbolizes the sudden and unexpected nature of violence in war. The ambush not only results in the death of Mr. Clean, a crew member, but also highlights the underlying tension and unpredictability of the journey upriver.

💡Do Lung Bridge

The Do Lung Bridge is a significant location in Apocalypse Now, representing the last army outpost on the Nung River and the crew's final contact with 'home'. This scene, directly preceding the ambush, is critical in portraying the chaotic and surreal atmosphere of the war. It serves as a metaphorical 'point of no return' for the characters, emphasizing the theme of isolation and the futility of their mission.

💡Kurtz

Colonel Kurtz is a central character in Apocalypse Now, portrayed as a once-decorated officer who has gone rogue and established a cult-like following in the jungle. The video connects Kurtz to the broader themes of war and leadership, drawing parallels between his influence over his followers and the blind obedience of soldiers in war. His character symbolizes the moral ambiguity and madness that can arise from absolute power.

💡Charles Manson

Charles Manson is referenced in the script as a parallel to Colonel Kurtz, drawing a connection between real-life cult leaders and the fictional character's influence. Manson led a group of followers who committed brutal murders in his name, mirroring Kurtz's control over his followers. This comparison underscores the theme of the destructive power of charismatic leadership and the thin line between sanity and madness.

💡Vietnam War

The Vietnam War serves as the backdrop for Apocalypse Now, providing context for the characters' experiences and the film's themes. The war is depicted as a senseless and brutal conflict that dehumanizes those involved. The script delves into the racial and social dynamics of the war, particularly highlighting the disproportionate impact on Black Americans, and critiques the motivations behind the war and its execution.

💡Hyacinth

The hyacinth is mentioned in a deleted scene from the script, with symbolic ties to Greek mythology and themes of jealousy and sorrow. In mythology, the hyacinth flower emerged from the blood of a slain prince, symbolizing beauty born from tragedy. In the context of the video, it is used metaphorically to represent the sorrow and loss experienced by the patrol boat crew, particularly in the lead-up to Mr. Clean's death.

💡Surreal Imagery

Surreal imagery is a recurring element in Apocalypse Now, used to convey the dreamlike and nightmarish quality of the war. The video discusses scenes like the boat passing under the tail section of a downed bomber plane and the use of colored smoke bombs, which create a disorienting and otherworldly atmosphere. This imagery reflects the psychological disintegration of the characters and the surreal nature of their journey.

💡Mr. Clean

Mr. Clean, portrayed by a young Laurence Fishburne, is a member of the patrol boat crew who is killed during the ambush. His death is a significant moment in the film, representing the loss of innocence and the harsh realities of war. The script highlights the emotional impact of his death, particularly through the juxtaposition of the ambush with the recording of his mother's voice, adding a layer of tragedy to the scene.

💡French Plantation Sequence

The French Plantation sequence is a controversial and often-discussed part of Apocalypse Now, cut from the original theatrical release but included in the Redux version. This scene provides historical context and explores themes of colonialism and the lingering effects of imperialism. It also serves as a moment of reflection and mourning for the crew, particularly following Mr. Clean's death, adding depth to the film's exploration of the psychological toll of war.

Highlights

The ambush scene in 'Apocalypse Now' symbolizes more than just a violent encounter, it is layered with deeper meanings.

An early draft of the scene connects to Greek mythology and the historical experiences of Black Americans in the Vietnam War.

Filming the boat passing under the tail section of a downed bomber plane was a challenging and innovative process.

The mail-opening scene was one of the last things filmed, providing insight into the movie's conclusion.

Willard's letter reveals a predecessor on the same mission, foreshadowing the dangers and psychological impact.

A newspaper article about Charles Manson parallels Kurtz's influence on his followers, drawing a connection to the nature of war.

Coppola's use of cinema to question the audience's sense of right and wrong in the context of the Vietnam War.

A 5-hour workprint included additional scenes and character development not present in the final film.

The symbolism of the Hyacinth flower in Greek mythology is used to convey themes of jealousy, sorrow, and forgiveness.

The ambush scene's visual effects and use of colored smoke bombs create a surreal and disorienting atmosphere.

Coppola's direction to mislead the audience about the timing and nature of violence in the film.

The emotional impact of Clean's death and the poignant moment of his mother's voice on the tape recorder.

The parody of the ambush scene from 'The Simpsons' offers a lighter take on a tragic moment.

The significance of the downed bomber plane as a gateway to an alien and primitive world beyond.

The challenges and creative solutions in filming the patrol boat passing under the bomber's tail section.

Coppola's vision of the scene as a surreal Disneyland ride for the crew, despite the difficulties.

The historical context of young American soldiers, particularly Black Americans, in the Vietnam War.

The observation that minority soldiers were often stationed in the most dangerous areas of the war.

The discussion on Warner Brothers' simultaneous theater and streaming release strategy and its consequences.

The mention of the 'Notebook' magazine and its focus on the art and culture of cinema, including the impact of weather in films.

Transcripts

The scene in Apocalypse Now where the patrol boat crew is ambushed while opening their

mail is saying a lot more than you might realize.

In this episode, I’ll take you through this scene uncovering what is really being said.

We’ll also take a look at an early draft of the scene that seems to connect to Greek

mythology, the historical connection to the experience of Black Americans in the war,

as well as how important and weirdly difficult it was to film the boat passing under the

tail section of a downed bomber plane.

Directly after the surreal Do Lung Bridge sequence, the patrol boat crew opens the mail

they received from Willard’s contact there.

I was sent here from Na Trang with these three days ago, sir.

Expected you here a little sooner.

This is mail for the boat.

This scene involving the patrol boat getting ambushed and Mr. Clean getting killed was

one of the very last things that was filmed, so Coppola had the benefit of knowing how

the movie would end when he shot this scene.

But still, the scene that appears in the script and the longer version that appears in the

5-hour workprint shows us some interesting details that didn’t make it into the final

film.

See?

You can’t stop me!

The men opening their mail is absent from both John Milius’s 1969 draft of the script

and Coppola’s 1975 rewrite.

Instead, in Milius’ version, we get Lance talking about his backstory of joining the

Navy because he couldn’t be with the girl he loved.

This was the scene that was used during the casting process and was cut from later drafts.

She had this leather skirt.

Short leather skirt.

The Do Lung Bridge was the last army outpost on the Nung River, so this mail is the last

contact they’ll have with anything resembling home.

Mr. LB Johnson, here you go!

Far out, man!

All right, I’ve been waiting for this one!

New mail also means Willard has received more information about his mission.

He receives a letter revealing that he was not the first person sent on this mission.

Another man was sent and it is believed that he is now, like so many others, under Kurtz’s

spell.

The US Military intercepted a letter the man tried to send to his wife that shows just

how far gone he is.

It reads: “Sell the house.

Sell the car.

Sell the kids.

Find someone else.

Forget it!

I’m never coming back.

Forget it!!!”

Is there anything more terrifying than seeing the awful fate of someone just ahead of you

on the same path you are on right now?

Directly after, this is visually linked to a newspaper article Chef is reading about

Charles Manson, a real cult leader who, like Kurtz, has dedicated followers who have committed

brutal acts of violence in his name.

Charles Miller Manson ordered the slaughter of all in the home anyway as a symbol of protest.

Hey, that’s pretty weird, ain’t it?

And through making this connection to Kurtz and what we will later learn are his motivations,

I can see a parallel being made by Coppola to war itself–a cause, in the eyes of leadership,

however rational or insane, that is believed and brutally carried out by its followers.

It must be a temptation to be god.

And through the grander context of the Vietnam War, it puts us in a perspective where we

can question our own sense of what is right by understanding that our opponent is fighting

for a cause that they believe is right.

And Coppola has boiled down the theme of the movie in a couple of subtle cuts.

The power of cinema.

At least that’s my interpretation.

And keep in mind that Coppola had already filmed the Kurtz scenes by this point.

Are my methods unsound?

In the 5 hour workprint, instead of receiving this new part of the dossier, Willard gets

a letter from a random person who is part of a pen-pal program.

Dear Captain Willard, You don’t know me but I drew your name from a list of servicemen

who requested someone to write them…

There is also a bit where Lance reads that his friend dinged up his surfboard back home.

What?

I dinged up your board shooting the pier and had to shave off a little!?

Lance acts silly with the smoke bombs like in the final movie, but he also scares the

crew when he shoots a water buffalo.

Lance!

Lance!

Come on!

What the f*** are you doing now!?

Why did you shoot that water buffalo?

I kill water buffalo.

That’s a harmless animal!

It wasn’t bothering you!

It’s an animal!

It’s got life!

I control the lives of every living thing that’s set before my sights!

It’s possible that this alerted the enemy to their presence, though the workprint is

missing the actual ambush.

In Coppola’s 1975 rewrite of the script, it is raining heavily and the crew is hiding

under the boat’s canopy.

They are driving against the flow of the river and floating tree trunks are slamming against

the boat.

Chief says that the river wants them to turn back and this is where we get the exchange

between Chief and Willard that was moved to the end of the Do Lung sequence.

Just get us upriver!

Afraid that the tree trunks are going to crack the boat’s hull, they decide to detour down

a small offshoot of the river–what’s called a tributary.

But when they go down the tributary, they find that it is completely overgrown with

Hyacinths making the boat crawl through them at a “snail’s pace”.

The name Hyacinth has its origin in Greek Mythology.

The story goes that the beautiful Spartan prince Hyakinthos was loved by both the sun

god Apollo and the wind god Zephyrus.

But when Hyakinthos chose Apollo, a jealous Zephyrus caused a discus to fatally strike

him.

From Hyakinthos' blood emerged a flower, which Apollo named "hyacinth" in his honor (Bouqs).

Hyacinths have a couple of different symbolic meanings based on their color, one is jealousy,

but another is sorrow and asking forgiveness which could potentially be Coppola asking

the audience for forgiveness for what he is about to do to Clean.

In the final film, there is a general sense on the boat that they are having fun opening

their mail and reading letters from home while Lance goofs around with colored smoke bombs,

but the music is mysterious and keeps us on edge.

Purple haze, look!

Clean plays a tape recording that his mother sent.

It seems they were able to forget about the Sampan massacre, but they won’t be able

to forget what’s coming next.

We get the surreal image of a boat shrouded in pink smoke daring anyone not to notice

it.

Suddenly, what looks like a bottle rocket flies out of the jungle straight toward the

camera.

The ambush has begun.

Coppola’s script describes these as tracer rounds, which are bullets that have a pyrotechnic

charge that ignites and helps you see where your bullets are going so you can aim better,

but it is obvious that those wouldn’t be able to be practically fired at the cast.

If you want, you could see them as bottle rockets to confuse the crew while they are

being shot at.

We don’t even know if this is the NVA soldiers–it could be Kurtz’s army.

Either way, this is an incredible visual of colored lights and smoke trails whizzing all

around the boat.

When Coppola was making notes on this part of the screenplay, he wrote, “Mislead the

audience into thinking they know when and where and how the violence will come, then

do it sooner and differently’” (Cowie 37).

We see Clean get shot before the crew realizes what’s happened.

All of the noise of the attack ends and all that’s left is the sound of Clean’s mother

on the tape recorder telling him to stay safe and planning for his return.

Granny and Dad are trying to get enough money to get you a car, but don’t tell them.

Because that’s our secret.

This does not appear in either of the script drafts I’ve seen.

It’s an absolutely devastating moment,

Where’s the dog?

We gotta go back and get the dog!

so to lighten the mood a bit, here is a parody of the scene from The Simpsons.

Sending your chick a valentine, huh?

Yeah.

Johnny.

Johnny!

Look, you can literally see a photo of Kurtz next to Skinner and Chef and Clean in the

background.

We see dead bodies and fire on the nearby riverbank.

When the patrol boat passes by scenes like this, it reminds me of a 1967 movie by Jean

Luc Godard called Weekend which takes place in a hellish version of France where everywhere

is littered with fiery car wrecks and dead bodies.

A horrifying scene that has been sitting in an indifferent world waiting to be discovered

is a great way of creating a hellish atmosphere.

In Milius’ 1969 draft, we get a spooky scene at night where they hear strange noises in

the jungle and see human skulls on pikes and determine that it was not the work of the

Viet Cong.

Lance shoots at them and they explode, revealing that they were mined.

Then they pull up to a fort and find Colonel Kurtz and the Kurtz section begins.

But we still have a ways to go.

The idea was that the Do Lung Bridge was the point of no return and shortly after Clean’s

death, there is another gateway–a downed bomber plane with its tail section sticking

out of the water.

Beyond the bomber plane, everything is alien, and time almost seems to be going backward

as things get more and more primitive.

Getting the shot of the patrol boat passing under the tail section was very difficult.

Interestingly, production designer Dean Tavoularis said that they based it on drawings that they

got from the toy company Mattel (Cowie 96).

Mattel owns Hot Wheels, so I’m wondering if it was from a Hot Wheels toy.

They built it [quote] “piece by piece in a little fabrication shop in Manila, and then

assembled [it] out on location” (Cowie 96).

Coppola had wanted it to be covered in monkeys but it would be too difficult to keep them

from running away, so they leashed a few at the top, but occasionally one would fall and

dangle from the leash ruining the shot (Cowie 96).

The weather was difficult the first time they shot it and they had to reshoot because you

could see the beam holding the tail section in place (Cowie 97).

Coppola wanted it to feel  like a surreal Disneyland 

ride for the patrol boat crew (Cowie 97).

F***, man!

This is better than Disneyland.

Milius: “I remember when I wrote that scene and of course, you write stuff that can never

be done, but I wrote that they go under the tail of this B-52 and the river widens and

there is all of these beautiful waterfalls kind of circling and then at the end where

it widens, it goes dark again into this sort of– the trees go over and it’s like this

hole that’s going to hell” (Milius Interview).

In Coppola’s 1975 rewrite, there is no funeral scene.

Instead Chief places Clean’s body in a plastic sack and somberly pushes it into the river.

In the workprint, we can see them wrapping Clean’s body as they arrive at the French

Plantation.

The funeral scene didn’t appear in the theatrical version of the movie and was added back in

for the Redux version during the French Plantation sequence that follows this scene.

Coppola explained to Laurence Fishburne that Clean’s funeral was meant as a tribute to

the youth of America (Actors Talking).

How old are you?

Seventeen.

Almost ten thousand US soldiers under the age of 20 died in the war (Archives).

And alongside that, there is the added context of black Americans fighting and dying in a

war for a country that didn’t treat them well at home.

And black Americans were more likely to be drafted into the war than white Americans

with 16.3% of draftees being black while the black population in America was 11% (Wiki).

You drafted or did you volunteer for this?

Drafted.

Acemagalor2519 made a great observation about the previous scene at the Do Lung Bridge saying,

“A detail I love about the bridge scene is how it's undoubtedly the most actively

dangerous part of the river we see and it's primarily stationed with black men.

I think it acts as a reference to how the government would often view minority soldiers

as even more disposable than white ones and how they'd often be shipped to the most dangerous

areas of the war.”

Albert Hall: “Here we were, in this case, me and Larry–both black.

And here we are fighting for our country and I lose him.

Reflecting on the fact that there were more blacks in the war and perhaps, the inequity

of that.

And that was very good juice and substance to use emotionally right there.”

This episode’s companion PDF features some more context on the involvement of black Americans

in the Vietnam War to better understand how it is referenced in the movie.

It’s just a dollar and will go into the five-dollar archive on Patreon when my next

video goes up.

I was reading this really interesting article in the newest issue of Notebook about the

issues with Warner Brothers releasing movies in theaters and streaming on HBO Max at the

same time in 2020 and getting sued by people like Christopher Nolan.

And now they are being used as a loss-leader for the streaming service.

For the fledgling streaming service.

Partially because of that WarnerMedia was bought by Discovery.

This is a fantastic collection of assets.

There was a nearly-finished Batgirl movie and a Scooby Doo movie that were shelved after

the merger because Discovery was able to reassess the value of assets and, in order to save

money, decided that these movies were worth nothing.

But they had to prove it by not monetizing them.

So the movies were put on the shelf, never to be seen.

This is also why a bunch of content was removed from HBO Max.

The story gets even weirder and you can read about it in Issue 3 of Notebook–the print-only

magazine devoted to the art and culture of cinema–created, prepared, and published

by Mubi.

This issue is called The Flap of a Butterfly’s Wings and is devoted to the depiction of weather

inside and outside of movies, and the ways in which film culture and industry can be

sabotaged.

There are articles about shooting in extreme weather, tips on how to make a movie that

is unstreamable, and tons more.

A subscription is $40 a year and comes with two huge issues and two exclusive surprise

gifts for subscribers.

Shipping is free, wherever you are.

You can subscribe at mubi.com/magazine.

And the current issue can be found in select stores around the world.

On the next episode of Making Apocalypse Now, we are taking a look at the expensive and

hectic French Plantation sequence that was cut from the theatrical release and seen for

the first time when the Redux version was released.

This video is particularly fascinating and gets into Coppola’s method for creating

scenes.