The Inhumanity of Mankind in The Heart of Darkness and Apocalypse Now

Throughout Joseph Conrad’s 1926 novel Heart of Darkness and Francis Ford Coppola’s 1979 film adaptation Apocalypse Now, the authors delve into the psychological depths of man’s capacity for inhumanity. Conrad’s protagonist Charles Marlow navigates the Congo River to Africa in pursuit of an infamous ivory hunter Walter Kurtz, whereas Coppola follows US army militant Captain Benjamin Willard, as he travels the Nung River of Vietnam in search of Colonel Kurtz. Unlike Marlow, Willard is on a mission which is to “terminate Kurtz with extreme prejudice.” In Heart of Darkness Conrad criticises of colonialism, whereas Coppola in Apocalypse Now explores the idea of politics. Both authors highlight human degradation and showcase the inhumanity of mankind.

Although considering themselves to at the height of civilizations, the western “superiors” of both the text are depicted as barbaric creatures that are showing the hypocrisy of Imperialism to hide their own inner savagery. In Heart of Darkness the Belgian company is the imperial power in Africa, whereas in Apocalypse Now it is the U.S. military in Vietnam. In both the text, the imperial power is shown by committing malicious act of cruelty against the native people. It is trying to showcase that the imperial powers are civilising the nation whereas the natives are portrayed as savages who are trying to change their lifestyles. The ‘savages’ in Heart of Darkness 19th century’s setting are the Native African slaves of the Ivory Trade, whereas the natives of Vietnam that are the victim of Vietnamese War are embodied as the stereotypical savages in Apocalypse Now. The epic war scene in Apocalypse Now showcases the utter madness of the pretence of imperialism through the use of cinematography. Colonel Kilgore invades the Viet – Cong community by leading a fleet of unconquerable American helicopters along with a ridiculously excessive force. During the particular scene, a dramatic and climactic diegetic music of Wagner’s ‘Ride of the Valkyries’ is played that is accompanying the massacre. The use of juxtaposition by Coppola of disturbing images and sound embodies the ridiculousness of classifying the soldiers as “civil,” is representing irony by playing heroic, operatic piece instead of a brutal assaulter. Moving onward from the gruesome attack, the camera starts tracking towards a motionless Colonel in the foreground, where the wide frame is highlighted by the explosions in the mis – en – scene. Looking over the war scene, he announces “I love the smell of Napalm in the morning.” It is expressing Kilgore’s affection and happiness towards the destruction, where Coppola is proclaiming the Colonel’s disregard of the human life. The techniques of ironic characterisation by the director is comparable to contriving of the accountant by Conrad in Heart of Darkness. When Marlow comes across the “grove of death” at the end of the river, the sound of dying natives start to agitate the “starched collared” European accountant who believes “when one has to make correct entries, [they] come to hate those savages – hate them to death.” This dialogue is demonstrating the injustice of the accountant’s hypocrisy. Conrad is employing the imagery of ‘whited sepulchre’ and a sepulchre house symbolises decaying of bodies, death and confinement that is painted white on the outside to give a superficial illusion of purity. Both the authors created similar despised minor characters that are ironically demonstrating the impression of ‘white – washed’; eventually making the audience question about the real ‘savages’ of the world.

The natural instinct of humanity is inner inhumanity, which is derived from the “Heart[s’] Darkness” and this is explored through the recurring motif of the jungle which is sporadic throughout both the texts. Conrad personifies the jungle as a menacing living entity which is manipulating Kurtz; “the wilderness has patted him on the head … caressed him, and he has withered … It had taken him … consumed his flesh and sealed his soul to its own.” By conferring the most menacing human qualities in its personification, Conrad is reinforcing the extended metaphor of a corrupt and unfathomable heart of darkness. Kurtz has arrived at the outpost (South Africa) with noble intentions “Each station should be like a beacon … for humanizing, improving, instructing” however, he undergoes through the downfall of his body and soul beneath the decaying control of the wilderness. The power – hungry people become overwhelmed by the ingrained savagery within the jungle, similarly to the American soldiers in Apocalypse Now who are caved in by its primitive energy. The boat for the soldiers is a representation of a sanctuary which is tranquil pretence of civility. By abandoning this refugee of tranquillity and delving deeper inside the insecurity of the jungle they are proceeding towards their own raw inner inhumanity, which is both intimidating and psychologically disturbing. The hauntingly uncharacteristic absence of the war scenes intensifies the extensive silence of Coppola’s jungle scenes. Darkness is prevailing, reflecting the forbidding atmosphere, with its unique blue – green colour allowing to distinguish the grisly setting. The rest of movie is tightly framed, although Coppola make use of wide shots to dwarf the characters, portraying the expansiveness of the wilderness and the insignificance of the characters in comparison. The film techniques are delineating mankind’s inhumanity in an environment where the external restrictions of society are removed. The menacing location of Coppola’s extension of the jungle and Conrad’s figurative “heart of darkness” are the one that abode the inherent inhumanity of mankind.

The vulnerability and susceptibility of an individual to release the soul’s unpleasant capacity is comprehended in Kurtz’s anagnorisis, the cognitive journey of the text peaking in a critical exposure of the degradation of human nature. This epiphany contradicts the innate innocence of humanity. Throughout both the texts, Kurtz gains control of his position as a demigod, eventually surrendering to the acquisitiveness of his lust and unquenchable greed. Kurtz exonerates himself from the worldly restraints in a “supreme moment of complete knowledge” and then realizes the disgusting core of his soul which has “looked within himself … and gone mad.” Near the time of death, the unbearable hollowness of human condition results in bringing about his last words; “The Horror! The Horror!” Kurtz is finally able to see humanity for what it truly is, and he is distress greatly, showcasing the author’s dire judgement of disbelief in humanity. In Coppola’s film, the direct dialogue – echo of the iconic line is paired along with measured supernatural music which also has extremely slow dissolves. Williams war – painted face, stone – carved totem head, helicopters and fire is simultaneously overlapping on the screen, forming layers that are inseparable which is give the seemingly symbols a thematic unity. The repetition of “The Horror!” throughout the remnants of Heart of Darkness, is highlighting the magnitude of this declaration. Parted with from the external checks of European restraint; “[man] has turned to wilderness … the unseen presence of victorious corruption, the darkness of an impenetrable night.” The two text presents this fundamental notion that ‘deceitful’ Imperialistic discussion, no matter how ‘civil’, stems from life’s alluring and omnipresent darkness and is merely a pretence which is masking the inherent inhumanity of the human condition.

At the ending of each text, the audience undertakes a cognitive journey along with the protagonist, unfolding the darkness in their own hearts and the inherent darkness of the human condition. Conrad and Coppola challenge the separation of inhumanity and civilisation through the ‘white – washed’ characters of the accountant and Colonel Kilgore, who makes the audience question the conventional inhumanity. The expanding wilderness, Kurtz’s kingdom is used as a mutual vehicle where the mankind’s inherent inhumane tendencies. These central ideas culminate in Kurtz final epiphany and in transcending the social context of each text, it acts as an insight to the “Horror” of the human condition.