An Analysis of Films by Kubrick and Coppola

            From the mid-1900s onward the two most prominent film makers until the early 2000s was Stanley Kubrick and Francis Ford Coppola with their thriller array of films ranging from haunted hotels, to a story about a New York mafia family. As you look at their earlier films and compare them to their later ones it is very evident that they took influences form one another, while also improving upon techniques that they had used prior. A great example of this can be seen in Kubrick’s film “Full Metal Jacket”, for just like in his previous film “Barry Lyndon” the major battle of the film that is depicted wasn’t one that was outstanding but it was still memorable enough for the soldiers that did take part in it. In addition, Kubrick being well aware of Coppola’s previous spectacle of “Apocalypse Now” Kubrick continued the theme of showing the grunt work when depicting the Vietnam War in the second half of his film. However, he tried a different approach to Coppola’s film having it being depicted farther into the war and being held within an industrial environment while the vast majority of “Apocalypse Now” was within the dense jungle. On the other hand, if you look at Coppola’s film “Apocalypse Now” it is easy to identify elements that he had took from his previous film “The Godfather” and one of Kubrick’s earlier films “Barry Lyndon”. Within film with its many stars the main protagonist Captain Willard which is played by Martin Sheen, is given an offer that he can’t refuse from the general, similarly to how the godfather would give out offers to his clients that if they refused then they would suffer dire consequences. It is evident that the storyboard processes for this film was very thought out due to the mass amount stunts that were implored for attention such as the synchronized sound scene with the helicopters with Rise of the Valkyrie playing in the background in order to rev up the viewer for the action that would soon consume them; but lets not forget about the wonderful lighting effects that were applied when the platoon finally reached their destination and met Brando’s character and his dark temple lit only by candle light instead of three-point lighting; showing evident signs that Coppola took some techniques form Kubrick’s “Barry Lyndon”. Although, both “Apocalypse Now” and “Full Metal Jacket” where both serious war films there was some comedy that helped levied the intensity and took your mind away from the seriousness involved sutures and guns; such as Robert Duval’s character in “Apocalypse Now” who wants to turn this action film into more of a surf film as he offers his men the choice to go surf during a siege or go fight, and most of them turn around and head towards the beach front to surf. The only thing that the two war movies seemed to be missing were subtitles, to understand the Vietcong forces. Thus, if you do ever have any free time look into these two outstanding directors and the creative film styles that they have developed for it is worth the spectatorship.