Imperialism in Apocolypse Now
...ium is never directly mentioned, the description of the “fascinating – deadly …snake” that “uncoiled, with its head in the sea and its body at rest curving afar over a vast country” (meaning the Congo River) verifies Belgian presence in Africa since the Congo Basin was known as the Belgian Congo. Europe’s sole desire for ties to Africa encompassed no more than to “tear treasures out of the bowels of the land…with no moral purpose at the back of it than there is in burglars breaking into a safe” (Conrad, 50). Conrad’s use of strong language effectively implies his disdain for European activity in Africa and its economic benefit at the expense of the natives. In the same light, Coppola’s Apocalypse Now conveys subtle undertones condemning America’s involvement in Expansionism, her involvement in foreign affairs, and her use of the CIA. Coppola expertly forms connections within his movie paralleling the book’s theme of protest against imperialistic endeavors. These connections spring not from direct dialogue, where one character directly states that he protests American involvement in foreign affairs, but rather, from petty, almost unnoticeable objects in the background. During Captain Willard’s meeting with the three military officers, the four of them sit down to lunch. In the background while Willard listens to a tape of Colonel Kurtz’s voice, three ceramic African Elephants conveniently come into view along with what may be a Hartebeest which is native to Western, Southern, Equatorial, and Eastern Africa). These animals not only are associated with Africa and therefore Heart of Darkness, but the elephant was the “gold mine” of European imperialistic activity. Also, when Captain Willard reviews Kurt’s dossier and accompanying files, one of the files is names “Ivory IV.” This more obvious connection lends even more credence by associating the main plot of the movie, which is finding Kurtz, with the loathsome ivory trades of 19th century Africa. Coppola also uses origins of characters, like Conrad, to bring forth additional meaning from his tale. The main characters, Willard, Lance, Clean, and Chef, are identified by their respective states. Lance is from California; Clean from New York; Chef from Louisiana, and Willard from Ohio. Each of these places played a major role of imperialistic efforts in the early United States, and thus further supports the argument that Apocalypse Now can be viewed as Coppola’s personal protest against such activity. Understanding what role each one played in this arena may explain the importance of each of these territories. Rivalry for the lush land of the Upper Ohio Valley brought already rigid tensions between England and France to a snapping point. The Ohio Valley became the chief bone of contention between them. It was the critical area where westward pushing English would inevitably penetrate, and it was the key to the continent that France had to retain if they were going to like their Canadian holdings to those of the lower Mississippi Valley. Britain eventually won this territory after much fighting and added it to its famous empire. All of Louisiana, but namely New Orleans, played the most important part of France’s attempt to protect its ventures in America. New Orleans was a strategic, semitropical outpost which became central to France’s fur-trapping industry, and was fought bitterly for against the Spanish. New York, Clean’s home state, which was established officially in 1623-1624, primarily existed to benefit the Dutch West India Company’s fur-trapping. New Amsterdam, now New York City, was a company town run by and for the Dutch Company in the interest of the stock holders. However, the days of the Dutch on the Hudson were numbered for the English regarded them as intruders. In 1664, after the imperially ambitious Charles II had granted the area to his brother, the Duke of York, a strong English squadron appeared off the decrepit defenses of New Amsterdam. The Dutch surrendered without a shot. Last, California was testing ground for President James K. Polk’s theory of “Manifest Destiny” – America’s destiny to control at least the entire North American Continent and possibly South America as well. Polk and the other disciples of Manifest Destiny had long coveted California’s verdant valleys and especially the spacious San Francisco Bay which was widely regarded as America’s future gateway to the Pacific Ocean. By giving the characters these particular home states, Coppola firmly indicates that he intended an association with European as well as American imperialism in Apocalypse Now. Coppola not only implies dissatisfaction with imperialistic activity, but also wanted to imply dissatisfaction with American involvement in foreign countries we had absolutely no business being in. During the stop at the outpost having USO entertainment, Chef asks for a bottle of “Panama Red.” This could be Coppola’s attempt to protest on of America’s many ventures into waters we did not belong in – namely Panama in 1903. Teddy Roosevelt, determined to have possession of the Panama Canal, encouraged Panamanian rebels to declare independence from Columbia. He then sent American warships to the isthmus to ensure the success of the rebellion. Upon their success, Roosevelt hurriedly recognized the new government and began building the canal. Coppola, by associating that incident with the Vietnam War, expresses disapproval not only for American involvement in a foreign rebellion in Panama, but also with American involvement in a similar rebellion in Vietnam. While reading Kurtz’s dossier, Willard looks over his military accomplishments. They included participation in many controversial incidents including which have implications to past, equally controversial incidents including Southeast Asia (1895-1905) when Teddy Roosevelt just happened to be in the Philippines, West Berlin when America tried to subvert Russian activity in Germany, Korea, and finally Vietnam. These all have one thing in common – America had no overtly legitimate business being involved in these conflicts, and Coppola knew that. Finally, late in the movie, Willard gives Chef instructions to...