apocalypse now...again

The scene's cinematography that sicks out the most to me is in the Kurtz murder scene. The color for one is huge part of the scene. During the actual murder there is clearly a gold/yellow tint to the shots. I'm not exactly sure what it means. It could be referring to the napalm scene where yellow is used. It also could just be used to draw attention and separation to the scene because it is such an important moment.

The showing of the ox is another interesting choice. It helps go between presence and textuality. There may be a semiotic use for the image of the ox, but it could also be just used aestheticly. Either way it draws the viewer out of the murder for an important spilt second, but then your drawn right back into pressence realizing the brutality. Because the ox murder is so brutal the viewer isn't taken to textuality for the length of the shot. Instead you are pulled for a second, but the then brought right back realizing how gory any killing is. I mean, no one watches that, and isn't emotionally effected on some level.

The moment after Kurtz is killed does a perfect job finishing. Kurtz is shown in incredible focus with low white light, and then it goes to Willard in a different lens less in focus for just a bit. This is a great transition that jars the viewer from the murder. Then Willard is shot in the same lighting that Kurtz had been shot. He stays in this lighting up until he gets on the boat to leave Malasia. There are a number of different ways to read this. It could represent Willard becoming Kurtz for a while, Willard bearing Kurtz's burden of insanity, Willard's own insanity, Willard beating Kurtz at his own game, or Kurtz's blood now being on Willard's hands.

Without a doubt in my mind this murder scene is one the most crucial in the whole movie. The cinematagraphy does a terrific job not only complementing it, but adding it's own pressense to the scene. It brings a needed change in mood. It's what makes the scene really special.