Leeming’s Monomyth in Regards to Apocalypse Now

tail Jarvis Mythology 211 October 1, 2012 divine revelation without delay Redux Symbolically Mythology Nothing affixes attention, especially in literature and cinematic entertain ment, more readily than a numbfish. Heroes and their gos be the substitution foc personas in many famous stories, either ancient or modern. The nous of the journey of a admirer and their triumph is referred to as a monomyth, and in that location are a few approaches to determining if a story is or is not a monomyth. In his book Mythology The Voyage of a Hero, David Adams Leeming proposes a method that involves eight mistreats or phases that coincide with the life and journey of the submarine.Many of our cultures most revenred and acclaimed movies fit the description of a monomyth, including Francis cut through Coppolas Apocalypse Now Redux. The entire movie takes brand during the Vietnam War and depicts the admirer, Army Special Operations schoolmaster Willard, on his necessitate up a river t o kill a psychotic Army slayicer, Colonel Kurtz. Francis ford Coppolas Apocalypse Now Redux coincides with David Adams Leemings method of a monomyth because Captain Willard symbolically undergoes every aspect of Leemings eight r issueine process.Leemings system first starts off with the birth of the wizard, and the first survey of the movie corresponds to this plosive consonant entirely. The scene begins with Captain Willard in a hotel drunkenness heavily, and he eventually makes a very gloomy aside. In his aside, Willard states that he is back in Vietnam and that when he is back in America he provoket stand the fact that he is not in Vietnam. Willard notions to the fact that now that he is back he feels like he has a purpose, and it becomes apparent to the audience that the contend has consumed Willards life.Near the end of the hotel scene, both NCOs find Willard in an super drunken state and wash him in the shower in order to make him presentable enough to assimilate his neighboring mission. while Willard is not literally being born, the act of the NCOs washing him and making him new so that he can go back to per leaping secret missions, in a sense his life, is symbolic of birth or in some guidances rebirth. Now that the hero has been born, the next phase in Leemings method is that the hero is make aware of great forces, usually those which the hero get out eventually wait.The share in the movie that relates to this point occurs immediately after the hotel scene, when Captain Willard is briefed around his mission by a few higher ranking force officers. The officers inform Willard that his mission is to kill a rogue and mentally perilous special operations officer, Colonel Kurtz. Colonel Kurtz was once a highly decorated and esteem officer, but the briefing officers inform Willard that Kurtz is now acting on his deliver accord killing at will with an army of people interest him who worship him like a god.By the end of the briefin g, Willard is made aware of the greater force that he must face. After the hero is made aware of greater forces, Leeming notes that the hero withdrawals for a period of time to prepare to face the greater force. A little while after the briefing, Captain Willard boards a gravy holder and orders the man to take him up river. Willard takes time to reflect, in the form of another internal aside, upon his mission in the time before he and the crew run in to anything on the river.Willard shows his concern for the rather noviciate and oblivious boat crew. He alike wonders virtually what exactly he will encounter on the river, what he will find out about Colonel Kurtz when he finds him, and what Willard will ultimately find out about himself. Following the heros preparation to endure their quest, the next step is for the hero to embark on their journey. On this journey, a hero typically displays traits that affirm that he or she is in fact a hero. Likewise, Captain Willard exhibits se veral examples that affirm his heroic demeanor.An instance where Willard shows that he has concern for his subordinates, the boat crew, occurs when he trades supplies at an outpost so that the boat crew can bind a few hours with a couple of playboy bunnies that are stranded at the outpost. Another example of Willards concern for his men happens when they encounter a French plantation further down the river. wholeness of the members of the boat crew had been killed, and Willard requested the permission to bury him on the plantation. Willard also illustrates the concept of putting the mission first when the boat crew, against Willards orders, searches a Vietnamese shanty boat.The crew mistakenly fires on the innocent Vietnamese civilians on the boat, which leaves one of the civilians alive. Rather than he and the crew having to deal with the public assistance of the civilian, Willard kills her and tells his men that they should have listened. Once the hero has undergone the main le g of their journey, Leeming states that the hero experiences a symbolic death. Captain Willard experiences this symbolic death when he and the crew arrive at Colonel Kurtzs compound. They are immediately over whelmed by the vast number of followers Kurtz has head washed, the most of whom being an American reporter.In another aside, Willard constantly uses words and phrases to make the compound seem extremely horrific and hell-like. Willard also realizes that the only reason that he and the crew have not been over whelmed and killed is because Kurtz wants him alive, but Willard makes comments to suggest that he is already lifeless internally. When the reporter takes Willard to meet Kurtz, he tells one member of the crew who rest on the boat to call in an airstrike on the compound if he is not back within a certain amount of time. The next step in Leemings process, after the symbolic death of the hero, is the hero confronts death while in the underworld.Captain Willards first face- off with Colonel Kurtz represents this point very well, with Kurtz embodying the force of death. Kurtz informs Willard that he has been expecting someone like him and asks Willard why he has been sent. Willard tells Kurtz that it is because Kurtz has gone completely insane, a fact that Willard backs up. Kurtz then states that Willard is insignificant and imprisons him. While Willard is imprisoned, Kurtz throws the head of the crew member who was to call in the airstrike on Willards lap, showing that Willard is truly helpless.Leeming notes that after the hero has confronted death in the underworld, the hero experiences a rebirth and a passing on of knowledge. This passing on of knowledge occurs after Captain Willards first meeting with Colonel Kurtz. The brain washed reporter visits Willard while he is imprisoned and states that the reason Kurtz is holding Willard alive is because the reporter believes Kurtz is sick of being praised as a rancid idol and is internally dying himself. The reporter says that after Kurtz is dead that Willard will be the one to tell the world what happened at the compound.This encounter is what relights Willards internal fire, in a way resurrecting him from the symbolic hell he was in. Willard gains highly significant knowledge in his prolonged second meeting with Kurtz, in which an internal strife builds inside Willard because he begins to harbor coincidence for Kurtz. In the meeting, Kurtz explains his position on war and how it should be carried out. Kurtz states that a perfect soldier is moral, but knows when to at times forget his moralistic views and use his primordial instincts to discern what the right course of action is.However, Kurtz notes that common soldiers do not operate in such a way which is their downfall. Willard, eve concludes that he must operate on these instincts if he is to conquer Kurtz. The utmost stage of Leemings model to prove a hero, occurring after the heros rebirth and a passing on of knowledge, is the hero ascends from the state and escapes the cycle of the world. With the compound in this case symbolizing earth and the war representing the cycle from which Captain Willard will escape.Willard reaches these ends by letting his instincts take control, killing Kurtz at the same time Kurtzs followers are sacrificing a bull in Kurtzs honor. Willard then boards the boat and escapes with the one remain crew member. Even though Willard had grown to in a way admire Kurtz towards the end, Willard implemented what he had learned by operating off his natural instincts he was able to make the right choice. The notion that Francis Ford Coppolas Apocalypse Now Redux is a modern day monomyth is bolstered by the fact that Captain Willard symbolically experiences every phase in David Adams Leemings method of defining a monomyth.Even though Apocalypse Now Redux is a work of fiction, the concept of basing a story around a heroic figure is a staple of literature in our culture. Real people who act in a heroic agency will continue to inspire such stories. Hopefully, society will neer see the day where stories based around heroes cease to be compose because that would mean that the people who inspire those tales will have disappeared. Works Cited Apocalypse Now Redux. Dir. Francis Ford Coppola. Perf. Marlon Brando, Martin Sheen, Robert Duvall. 1979. Miramax Films, 2001. Film.