Apocalypse Now is not an anti-war film - Coppola

>then the kikes are also being controlled

They are.

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Hes right. It's a movie about the proper mindset and execution of war.

Says every vapid high school student

>in addition, the 'aliens' you see in the film are themselves controlled by the subliminal messages

There is no indication in the film that is the case because we never see the world from their perspective.

Also, all of the 'aliens' have special watches with teleporters in bedded in them. Hardly unwitting.

Thus they are all aware of the situation.

>is about yuppies and unrestrained capitalism
> It has nothing to do with Jewish control of the world

why would he conflict himself like this?

well excuse me, princess

Dude I have to go see it in theatres I'm imagining that whole section where Willard is in the trenches and it's pitch black, except for the flares that shoot into the sky

No shit?

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Not him but everything involving Kurtz
Such a great character

It's a good story about what it's like to drive through a black neighborhood.

Gremlins is just a movie about dark skinned monsters that moves into the suburbs, eats fried chicken and then destroys a white neighborhood.

>written by John Milius
>anti-war
Hahahahahaha

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Did anyone here read John Milius' original script? The beginning and ending are different but the rest is pretty much the same as the original film version but includes the french plantation sequence.

Willard is more "bad ass" and pretty much comes off as an asshole. He doesn't have any type of existential crisis and is pretty much Dirty Harry. The ending is crazy. Willard, Chef and Lance make it to Kurtz' compound. Willard meets Colby, who actually has dialogue" and they hit it off pretty well and he takes him to meet Kurtz and they too hit it off pretty well. Chef doesn't like this at all and calls in the air strike and attempts to kill Kurtz himself. They took his guns so he tries to sneak up behind Kurtz to stab him but Willard sees him and shoots and kills him. The air strikes starts and Kurtz, Willard and Colby are firing anti-aircraft weaponry at the fucking planes. YES! John Miliuis is fucking crazy. Kurtz gets mortally wounded so Willard carries him far out into the jungle so that he can die in the jungle like he wants. He says "the horror, the horror" and croaks. Then there is an epilogue taken straight from Heart Of Darkness where Willard meets Kurtz's widow.

Sounds much better than the actual ending we got.

to save face

Jaws is a prophetic film about a timid white fellow with a badge, a Jewish intellectual who doesn't like getting his hands dirty, and a tough, grizzled white veteran hunter. They pair up to face an unseen foreign threat that is attacking Americans. In the end, the white veteran is sacrificed to the threat, before the threat is permanently vanquished, with little apology. And then the timid "new" white man and the Jewish intellectual paddle off into the sunset, smiling at the promise of a new tomorrow.

Jaws is about the US army (Quint) being sacrificed to kill off the Middle East, and a terrorist attack was the bait. Quint does, representing the end of real white males, while Brody is a good goy. They are paddling into an Israeli future.

Nice post, if true.

Anyone know why the Tim Roth / John Malkovich faithful Heart of Darkness adaptation is not only underrated but almost totally obscure? It's fucking great.

Leftists are forever attacking the symptoms and never the root cause.

Though admittedly there is a class of either witting or unwitting shabbos goy elites that reinforce the system.

My guess is that these elites outright know about Jewish power in the USA, but they don't care and are happy to let the lower classes be propagandized and replaced as long as they get their 30 pieces of silver.

George H.W Bush certainly knew who was a Jew and who wasn't. There is transcripts of Mao, Nixon and Bush talking in the 70s and the subject was who owns the media in the USA was brought up by Mao of all people.

the alien creatures consume the same material as the humans, why assume that the aliens are themselves not influenced by it, so although they see human beings (mostly) as beneath them and enslaved, it is reasonable to believe that they might be ignorant to their own servitude. another thing backing this up is that in the original story and comic the main character is shown to be an alien at the end but through the story they believe they are a human, and they die due to a command given by someone over a phone, they were an alien slave unaware of their own nature.

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screenplay.com/downloads/scripts/Apocalypse Now.pdf

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The television "beam" was obfuscating reality for humans. Clearly a metaphor for how the media controls the perceptions of people but I digress.

If this beam obfuscates for humans, lets assume that it obfuscates for the aliens as well. In retrospect I'm willing to give leeway considering that the businessman alien buys himself a newspaper at the street merchant. If he could only see what Lada saw in the sunglasses, he'd have no need to buy such a thing.

Whether they are unwittingly or wittingly destroying the earth, does it really matter? There is a grand conspiracy, even if it is a hierarchical one, that utilizes a combination of soft power (allure of wealth, media manipulation) and hard power (police, armed guards, etc) to rule.

Nada's solution was initially to exterminate them, lol.

Exactly, the 'Nam setting was just because that was a contemporary event at the time that was still fresh in the public's mind. A true war film can be set during any war, the nature and brutality of mankind is pretty consistent regardless of the specific conflict.

>A true war film can be set during any war
Heart of Darkness doesn't take place in a war, Vietnam was used because it was a convenient way to get the characters into tropical darkie land.

man, those lines are horrible. no wonder brando was such a dick