Abstract
The paper analyzes the recovery of the French Plantation sequence in the films Apocalypse Now, Final Cut, and Coppola, recovering the movie’s entire narrative and aesthetic capacity. We demonstrate how Coppola, obeying distribution norms and standard marketing devices, suppresses the sequence, producing a film like all the others. Coppola recovered the narrative of the French Plantation in dialogue with Schoendoerffer’s nostalgic cinema, masterfully adapting Conrad’s work, Heart of Darkness. The description of the French and American wars in the paper provides the background, allowing us to understand why there is a French plantation in Vietnam and why the United States entered the conflict in Southeast Asia. The recovery of the sequence describes French colonization in the era of imperialism, producing commodities such as rubber in plantations—places where the planters put down their roots—the plantation becomes property, existential justification, homeland, and source of memory. Defeated in Dien Bien Phu, the French do not abandon Vietnam and their memories, transforming them into nostalgic ghosts shrouded in the mists of history. The French Plantation restored in Apocalypse Now, Final Cut, gives the film the status of a work of art, ceasing to be a confusing work about an absurd and unfortunate war.
Published Version
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