Luis Buñuel's brilliant new comedy, The Discreet Charm of the Bourgeoisie (Le Charme Discret de la Bourgeoisie), is so free in form and yet so lucid and wise that it could give the Surrealists a whole new lease on life.
It may be about time for movies to realize that they aren’t realistic. They are, for all the reality of their locales and of their actors and of their circumstances, only representations of reality and nothing more.
Taking a best-selling novel of more drive than genius (Mario Puzo's The Godfather), about a subject of something less than common experience (the Mafia), involving an isolated portion of one very particular ethnic group (first-generation and second-generation Italian-Americans), Francis Ford Coppola has made one of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.
Francis Coppola's Apocalypse Now lives up to its grand title, disclosing not only the various faces of war but also the contradictions between excitement and boredom, terror and pity, brutality and beauty.