RAINING SNAKES

Abstract

U ovom radu autor prikazuje i interpretira dvije različite kinoverzije Coppolina klasičnog filma Apokalipsa danas. Verzije se razlikuju po tome što jedna od njih završava scenom bombardiranja koja je u kasnijim izdanjima filma potpuno nestala. Upravo u nestaloj sceni autor pronalazi najzanimljiviji smisao filma te pokazuje zašto je izostavljena scena fundamentalna. Koristeći se Arendtinom interpretacijom Conradova romana Srce tame, koji je scenaristički iskorišten u Apokalipsi, autor tvrdi da je verzija koja završava zračnim napadom, filmskim jezikom prikazala čin radikalnog zla, a da je glavni junak Kurtz akter zla koji nije ni načelno zao ni nemisleno banalan. Autor želi pokazati da je film iz 1979. koji su svi shvatili kao film o Vijetnamu ustvari nehotice bio apokaliptičko upozorenje da ratni sukobi kultura i civilizacija mogu otvoriti horizont u kojem djeluje radikalno zlo.In this paper the author presents and interprets two versions of Coppola’s classic Apocalypse Now. The film ending air-strike is the difference between the two versions, the air-strike which disappeared in the latter versions. The author focuses on the “missing” scene and argues that it is fundamental for the coherent interpretation of the movie. He uses Arendt’s interpretation of Conrad’s Heart of Darkness on which Coppola’s film is based and tries to show how Coppola’s film unknowingly expresses the concept of radical evil. Kurelić also argues that Kurtz represents an evildoer which is neither demonic nor thoughtless, exactly the type missing in Arendt’s confrontation between radical evil and banal evil. The author wants to show how the film made in 1979, which was mainly understood as the film about the Viet Nam war, actually unintentionally represents an apocalyptic warning that the wars based on the clash of cultures and civilizations can produce the same outcome as Arendt’s totalitarianism – radical evil