Word: terrorizer
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Dates: during 1970-1979
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Hooray for Yasser Arafat for his super remark: "The real terror is the occupation itself...
...Ulster's impoverished Catholic enclaves the sight of a British soldier at the end of the street remained a sufficient spur to militance in a conflict that Irishmen track back for centuries. Soon the Protestant backlash added to, and in many cases surpassed, the Provos' terror...
...That narration-alternately sensitive, psychopathic, literary, gung-ho and antiwar-is self-contradictory and often at odds with Willard's behavior. It does not establish the protagonist as a credible figure or begin to achieve Coppola's loftier goal of charting Willard's tailspin into psychological terror. Eventually, the voice-over commentary becomes a makeshift panacea for the film's many other defects: it hastily clarifies plot points and states themes that Coppola has uncharacteristically failed to develop through action, dialogue and pictures. This strategy is as hopeless as trying to glue together a $30 million...
Coppola appears to believe that if Kurtz soliloquizes about "horror" and "moral terror," the audience will think that the movie has actually dealt with these matters. But when Willard assassinates Kurtz, we still do not know why the Green Beret went mad, the genesis of his large cult or even the identity of the many gruesome corpses and severed heads that lie strewn about his domain. Nor do we know why Willard, a sudden convert to Kurtz's undefined cause, goes ahead and kills him. By withholding this information, Coppola gives up his final chance to confront the issues...
...sculpture remains opaque (what is a figure of Ian Fleming's Pussy Galore in a bike helmet doing in the same place as the donkey-headed Bottom from Midsummer Night's Dream?), but its intention is plain - to provoke a sense, as Segal puts it, of "terror, hallucination, nightmare...