Ford Reviews

"Apocalypse Now! Redux" is celebrated as one of the most powerful anti-war manifestos. One of the reasons for its long-term success is, without a doubt, its precocious post-modernism. The Air Cavalry scene, in particular, conveys a message that will become part of the post-modern intellectual credo. Most core Western cultural symbols, old and new, are intrinsically violent, "barbaric." "Apocalypse Now!" is not only a harbinger of this vision, it takes it to the extreme. In it, even the counterculture, in other contexts celebrated as a "liberating force," is intertwined with the lethal vines of death. In the new release of the movie the Playboy culture and the untrammeled eroticism of the sixties become central driving forces of the Vietnam war. In Coppola's own words "This is an L.A. war." His synopsis of the movie sums it up: "The American War 'to bring civilization to the ignorant millions' is merely the extension of mercantile colonialism[;] the horror and savagery lie not in the jungle, but in the American culture itself, with its powerless [sic] technology and pop culture."

Although not very original-the idea goes all the way back to Marx-this vision, combined with a daring cinematography and paranoid atmosphere, made the movie into a landmark cinematic event. At the time (1979) it sent shivers down, for different reasons, obviously, many liberal and conservative spines.

When I first saw "Apocalypse Now!, behind the Iron Curtain, I found it an exhilarating visual experience. It gave me a glimpse into, I thought, a new world of meanings. Particularly intriguing was the idea that one can talk about war, usually associated with the "shoot 'em up" clichés of the "Dirty Dozen"-kind, without using grandiloquent musical scores and images. War can be "modern." Soldiers can smoke weed and listen to rock-and-roll. The Rolling Stones and the Doors had to shape a war that took place in the middle of the Aquarian era. This could be accurate and honest in its intents, if not in details, I told myself until recently, since we are talking about an expressive work of art. I never gave a lot of thought to how much this really fit the ways of the American military or its war in Vietnam. Up to a point it sounded quite realistic to me that crazy American colonels could be surfing aficionados and that their use of technology would be as reckless as their military machinery would allow them. Why, I could not precisely tell, probably ignorance about the ways of American military would be the best explanation.

But, then, I had yet to hear about the Ia Drang battle. The eye openers were the movie "We were solidiers," released in March, 2002 and the book with the same title. They recount the 3-day battle of November 16-19, 1965 between units of the same 1st Air Cavalry Division that appears in Coppola's movie and the 33rd, 66th and 302nd North Vietnamese Army regiments, infiltrated in South Vietnam from Cambodia. The movie, far less esthetically ambitious than "Apocalypse Now!," is however painstakingly accurate. It helps you understand not only the Vietnam War but where Coppola's "Apocalypse Now!" fails the test of a truly great work of art.

Coppola fails to penetrate to the raw reality of the Vietnam war. This is because he utilizes and refines in his movie derivative material. His characters and icons-human, intellectual and historical-come from a large repository of artistically already transfigured-with a political-radial agenda-materials.

The movie draws on journalistic work directly influenced by the counter-culture. Some of them seem lifted directly from the famous, for its partisanship, photo-essay "Vietnam, Inc" by Philip Jones Griffith and prefaced by Noam Chomsky. The scene in which Kilgore offers water from his canteen to a Viet Cong fighter wounded in the gut, saying "Any man brave enough to fight with his guts strapped on him can drink from my canteen any day," it's obviously inspired from a similar episode depicted in Griffith's book. There, a young Vietcong, although wounded in the abdomen and keeping his intestines inside with a wash bowl, was taken prisoner only after three days of fight, winning the respect of the American soldiers, who offered him water with approximately the same words used by Kilgore.

In another scene, Kilgore is shown flicking "death cards" atop of Vietcong corpses. This is a "creative" reinterpretation of a war folklore theme. Peter Cowie, the author of the companion book launched with the new version of "Apocalypse Now!," explains that this is "a slight [sic] perversion of what occurred during the toughest phase of the war." The sic refers to the fact that in the real incident, presented in Michael Herr's "Dispatches," the Americans are the victims. "Once after an ambush that killed a lot of Americans," cites Cowie the "Dispatches" passage that inspired Coppola, "the NVA covered the field with copies of a photograph showing yet another young, dead American, and on its flipside a mimeographed message: 'Your x-ray have just come back from the lab and we think we know what your problem is.'" This is a quite surprising act of "artistic license" since Herr was directly involved in the movie.

In consequence, the themes and people presented in "Apocalypse Now!" spring not from reality but from the meta-reality of the anti-war movement. Nothing betrays more the fundamental shortcoming of "Apocalypse Now!" than Coppola's inability to put in perspective the fact that the officers who lead the American troops in Vietnam were, by and large, the same people who saved America and the world from the Nazi and Japanese totalitarianisms. They had little in common with the sixties and with the counterculture. Their personal cultural style was influenced much more by Gregory Peck, Henry Fonda and Humphrey Bogard than by Elvis or the Rolling Stones.

Everything I read in "We Were Soldiers" convinced me that, for example, Lt.-Col. William Kilgore is a very distorted representation of reality. He has very little to do with history and everything to do with the "post-colonial" caricature of the Vietnam War. The average battalion commander in the 1st Air Cavalry Division is much more like the author of "We were soldiers" himself, lieutenant general (ret.) Harold (Hal) Moore.

In 1965 a Lieutenant Colonel himself, commander of the 1st battalion, 7th Cavalry, 1 Air Cav. Division, his career and lifestyle do not betray any shadow of frivolity. Originally from Kentucky, father of 5 children in 1965, a West Point graduate, he commanded two companies in the Korean War and had spent many years abroad, in Europe and Asia, before returning to Fort Benning, in Georgia, to join the 1st Air Cav. An accomplished aviator and master parachutist he was a "straight and narrow" soldier, remembered for shaving, and demanding his troops and the occasional war correspondent attached to his unit to shave, too, every day, even when on the frontlines.

Moore's 1st Air Cav. commanding officers were made of the same stuff. Some of them were recruited from the heroes of the "greatest generation:" the battalion and company commanders of Salerno, Normandy and Bastogne. As Moore describes him in his book, the division commander of 1st Air Cav., "Major General Harry W.O. Kinnard, a native Texan [...] was West Point, class of 1939, and Airborne qualified in 1942. Kinnard was one of the shooting starts of the 101st Airborne in World War II. He was Brigadier General's Tony McAuliffe's operations officer, G-3, at the Battle of Bastogne in the Bulge, and the man who suggested that General McAuliffe specifically respond to German surrender demand with one historic word: "Nuts!"

I was disappointed to see that this book doesn't contain the original version of the Apocalypse Now script, by John Milius. It could have at least contained one of the later Milius/Coppola rewrites, such as the final revised 1975 version, which is easily found online. The simple fact is, those scripts provide a better reading experience; you're better off just watching the movie than reading this one. And, if you're a fledgling screenwriter, you're certainly not going to learn anything about the craft of scriptwriting from this book.

The reason being, as any viewer of the excellent documentary "Hearts of Darkness" knows, is that Coppola basically gave his actors free reign in expanding and ad-libbing their dialog on the set. Having read the earlier Milius/Coppola rewrites, I know that a lot of the lines in Apocalypse Now were in fact from the script. But many more of them (particularly Brando and Hopper's dialog) were in fact made up by the actors themselves. So to publish this book and say that it's a pure creation of Milius and Coppola is a bit misleading (something which Coppola himself vaguely asserts in his introduction).

A straight-up publication of an earlier version would have been preferable, if for the simple fact that it would give amazing insight into the twisted path this film took, from script to celluloid. For example, the '75 version mentioned above (the script Coppola started with on the set, but eventually rewrote day by day) not only opened with a psychedelic action scene, it also ended with one: a surreal, apocalyptic (of course) set-piece that involved untold VC, rampant destruction, and drugged-out GI's, with "Light My Fire" blaring over humongous stereos. It's interesting to imagine what the movie would've been like, had Coppola stuck with this ending, though from the beginning he claimed he had a problem with it; he found it too much like a comic book. Still, many have complained that the ending of Coppola's actual film is a bit underwhelming; there are many who would have in fact preferred the climactic sequence Milius envisioned. As for myself, I like both.

There are other interesting differences in the early Milius/Coppola drafts. For example, Willard is more of a devil-may-care super-soldier; he shares his joints with the PBR crew, and takes easily to murder: in one well-written sequence, Willard, realizing the French Plantation owners are attempting to trick him out of crucial fuel and ammo supplies, fools them by murdering some Vietnamese guards and planting their bodies in empty supply crates - crates which the French believe contain fuel and ammo. Kurtz as well is different, a blond-haired he-man who kills hundreds of VC single-handedly. Hardly the character Marlon Brando played in the film!

Actually, it's unfair of me to review these earlier incarnations of the script. The fact is, the version published here is far removed from them. But even though I'm unimpressed with this book, I still can't give it a poor review; even though it's mostly just a transcription, still, it's a transcription of my favorite movie, so that means it can't be ALL bad.

Alright Apocalypse Now (AN) fans, here it is, the complete screenplay of the recently released Apocalypse Now Redux (ANR). If you are looking for insight into this classic film, I suggest that you check out the appropriate books by Eleanor Coppola, Peter Cowie, and Karl French. If you want to enjoy this movie in a literary fashion, then look no further and pick up this book. Written by John Milius and Francis Ford Coppola, this screenplay covers everything that you saw in AN and ANR. It's a great way to enjoy your favorite bits of dialog as well as to explore the restored scenes. It's a shame that there are only 8 pages of color and b&w photos (with only one shot from ANR) though. With the release of the expanded film, I would have expected a few more extras here. Anyway, this is a must have for all AN/ANR fans. And remember, Charlie don't surf!!!

I had to read this book for a class I am attending in college. I, at first had a difficult time reading this book. It seemed to skip around a bit and not really flow consistantly. Once I finally got into reading it, I found it to be interesting. It discussed a variety of topics from Black English to teaching a diverse group of students. I would say that people planning to teach school or parents who have children in schools that are in the middle of larger cities and have lots of diversity should read this book.

I am a student at Macon State College. I had to read the book "City Kids, City Teachers" for my education class. I, being an early childhood development major found this book very interesting and enlightening. It gives people a look at very different children from all different kinds of backgrounds and gives you insight into their lives and personal struggles. It also gives very good advice to teachers on how to handle different situations. I recommend this book to anyone considering becoming a teacher.

First of all, I am a college student majoring in education and read this book for one of my classes. Personally, I thought that the book was excellent. It was packed with good, feasible suggestions on how to not only teach children from different backgrounds but how to learn from them also. It stated plainly that we all need to take into account and draw from their experiences and see them as "children of value" rather than "children at risk." I highly recommend this book for any teacher.

I received the books (both the earlier publication and the follow up vol 2) today after a long wait. I must say that I have high expectation of the books and reckon that they could make an important contribution to the study of architecture. In an age where students are learning only from glossy mags and have no idea how buildings are put together and how the tactile quality of construction works, I think it is right that somebody should revisit the art and craft of architecture.

However, I am greatly disappointed with the books. Whilst the text is general reasonable, insightful and critical, the same cannot be said to the drawings. In a nutshell, they are badly drawn and poorly finished. For example, the style of the drawings does not reflect the quality of the material used. And who is going to believe that when materials of different qualities are joined together, there is no tolerance? Fixing methods are not illustrated and I have a suspicion that some of the details are guesswork. This is evident by noting the impossibility of construction sequence based on the drawings. The most unforgivable sin of the drawings is that lines are missing, or are wrongly drawn. Like my teachers used to say to us, students of architecture, the guy who did the drawings simply has no idea of construction and detailing.

As far as trying to teach my students the art and craft of architecture, I will definitely give the books a miss. The books are only useful to show how they should not be done.

Like the first volume, excellent book. Be prepared, however, for sentences like this, on page 127: "Perhaps because this methodology required the juxtaposition of opposites seemingly incapable of reconciliation, the irrational combination of radically different techniques, and the simultaneous consideration of multiple variables, it was one at which Aalto excelled". Both books are pretty much like that. It's interesting to read these elaborate sentences, but often they're the umpteenth re-statement of a point. After reading these volumes you'll have an overview of the important buildings and architects of the Twentieth century, complete with detailed drawings describing exactly how they were built, and a sense that architects will always agonize over the deceptions they are forced to perpetuate.

Ford's book offers a unique look into selected projects of twentieth century architecture through short descriptions of projects touching on both theory and construction detailing. His choice of selected work in the volume touches most of the important modernist buildings of the sixty year period. Significant attention is paid to Scandinavia, Corbusier, Case Study Houses, Kahn, and the Post Modernists. Well worth the cash as I have referenced the drawings many times over the two years I have had it on the shelf.

This tape was a disappointment to me. It sounded more like an info-mercial than a serious communication of ideas. It seemed like it was produced to promote one of the author's books, not a tape that should be sold.

Hi,

I just wanted you to know that this tape, entitled Embracing Your Dark Side, is not an audio program, but a recording of an interview I did with New Dimensions several years ago. While it is a great interview (I gave it five stars because Michael Toms is a five-star interviewer), I have heard feedback that some people were disappointed because they were not clear about this fact before they purchased it. If you like interviews, you will like this tape. And if you're looking for something more in-depth, I would recommend that you buy The Dark Side of the Light Chasers or The Secret of the Shadow on audio book.

Best regards,
Debbie

This audio tape, like Debbie Ford's wonderful books, will speak directly to you. With all respect to our personal uniqueness, we all have multiple aspects of our personalities, and it is through recognizing and accepting ALL of who we are that we will find the freedom and peace of mind we seek.

Debbie Ford is a clear, inspirational, and entertaining guide along this sometimes difficult journey.

- Thom Rutledge, author of Emracing Fear (HarperSanFrancisco)

If this were a less expensive book the rating would go to 3-4 stars but compared to books of similar subject matter (Porsche 917: The Winning Formula) the photographs are not very good and the paper and printing process is at best mediocre. To add insult to injury, the book is more than "Porsche 917".

I purchased this book as reference for model building. It is some help in this respect. But the paucity of color photos and the poor resolution cause me to downrate this book.

If I could wish for more, it would be more context. It would be nice to have seen some better coverage of races outside of Le Mans, and more coverage of the principal opponents. It's a little like looking at the world with GT40 tunnel vision. Of course I shouldn't complain too much, this is a comprehensive history of the GT40 afterall.

Tecnical info, a race/development history, chassis record. Even a brief look at the replicas. If you could wish for something more it would be better picture reproduction.

Hurry up and send my copy so i can write a review , it's been three weeks since i've ordered it and if it doesnt show up by the date promised i will never order online again. does anybody hear me, or is my money the only concern and delivery takes a back seat......

This book has come in very handy in my current attempt to overhaul my 2.8L V6. I found the section on the cylinder head of particular interest and usefulness. The supplier list was also nice. I wished that the book covered the application of this engine in my car (1986 TVR 280i). Overall, I find the book informative and the best in the market for my specific project.

I reviewed the book, and noticed if engine was over 0.020in I needed another engine. Well my engine is 0.060 over. My question is can I sleave the cylinder instead of getting another engine? Thanks

Richard Ford's Women with Men is a collection of three short stories. The first and third seem closely related. They focus on two men from the Midwest, both entering middle age, and both profoundly confused and clueless. The city of Paris features prominently in both stories. The third, story, much shorter and sandwiched between the Paris tales is a sort of coming of age tale of a teenage boy in Montana. It seems somewhat out of place.

In the first story, "The Womanizer", Martin Austin a supposedly happily married man, has traveled to Paris for a business trip where he finds himself intrigued by a somber, enigmatic woman undergoing a painful divorce. The story chronicles what happens when Austin becomes unaccountably obsessed with her. In the other Paris story, "Occidentals", Charley Matthews, whose wife has recently abandoned him, is visiting Paris on business, accompanied by his lover, Helen. I found both stories painful and dreary but was struck by how congruent Ford's writing style was with the psyche of the characters. Both the characters and the writing are ponderous, and humorless and grim. The result is an unusually intense portrayal of unconscious grief, depression, and delusion and quiet despair among men (and the women in their lives) who are groping for meaning and purpose in a soul-dead existence, and who are floundering for human connection without the slightest capacity for autheticity or intimacy.

This collection of stories extends a major theme in Ford's work: women sans men do just fine. Drop a male or two into the picture, and the problems start to pile up. This collection throws this thematic cream pie in your face. It's not a subtle message; the title's obvious poke at Hemingway gives it away before Page One. Fortunately, its thematic constructs do not overshadow the absolute quality of the work. Ford is a premier American writer, and this volume upholds his lofty standing, although it may not raise it to the next level (whatever that may be). Still, there are nits to pick. To the well initiated, these stories may well read like highly developed drafts of finer works to come. While the characters are true and well-developed, they lack a certain depth of those in other Ford works. And the internal dialogs, for which Ford is famous, sometimes border on whining, particularly in the third story, Occidentals. If you're not a Ford fan, these shortcomings may leave you searching for a more engaging read. Still, anyone interested in serious American literature, should check out Women with Men.

I think this is one of Richard Ford's best along with Wildlife, Rock Springs, and The Ultimate Good Luck. The subject matter and setting are quite different from the Americana we've come to expect from him, yet the depth of insight is there in maybe even more intensity than in any other works. I rank the first story, The Womanizer, up there with more obvious and less subtle works by Camus concerning "the human condition" While some reviwers found the protagonist lacking direction and substance, I felt that this was precisely WHY this story was so good. Ford has managed to portray a character who is non-commital and self-deceptive to the point of ridiculousness. He is an onion skin of lies and apathy floating back and forth between Paris and the US under the illusion that he is having an affair with a woman that he really doesn't care about. There are so many great scenes in here from the one where he imagines himself in court with his wife to when he presents the little boy with a gift. Ford undermines him with irony from start to finish and presents us with incredible detail and insight a character who is fundementally vague and doesn't even know himself let alone others. A classic of the short novel which should be ranked with the best of Peter Handke in this genre. There is a little of this protagonist in all of us. Well done.

I have been playing, coaching girls softball for over 25 years. I purchased this book with the intent to help girls pitch softball, hoping to get ideas on drills, practice etc. I guess, I was expecting more when I received less. In my opinion, it could of took less time to write than to read, (within the hour). If you're wealthy and wanting to spend a lot of money on terms, than this pamplet may be for you, If your looking for specifics and details, and a good buy. Search elsewhere.....

Before adhering to the techniques offered in this book, my sister was a sufficient recreation softball pitcher who utilized the "slingshot" delivery. After switching to the windmill delivery, diligently practicing the methods taught in this book, and adopting Coach Ford's philosophy, she was able to secure a full-ride scholarship to the University of Nebraska as a starting pitcher. This book provides straight-forward descriptions of the tools and techniques necessary to become a successful competitive softball pitcher, and I would recommend it to any pitcher, parent or coach.

Along with hard practice, the guidance of this book helped my daughter and myself understand the basics of the pitches she now throws. Why should you throw a pitch, what the pitch should do and how the ball spins should be known before it's thrown. Mr. Ford's book tells of every aspect of the basic pitches to be a competitive pitcher and pitching coach. Very easy to comprehend and to the point gives a no nonsense approach to the basics. The small paper back is easy to carry and a quick reference when on the practice field. This is great for the coach who can not remember every aspect all the time (Dennis did that for us). I have owned three books and will buy another, because everone that borrows it from me likes it and still uses it till this day. Thank you Dennis for making my daughter a 1996 Pony National Champion.

Exception to Amazon rule-Overprice

This is an excellent reference guide for the auto enthusiast who is interested in year-to-year Ford automobile differences. The pictures are first rate, many of them in color. The pictures of the 1930's models are especially good, which will be of value to the hot rodder group who search out these vehicles for customization. I would have also liked to see Mercury and Lincoln models included in this volume, but I guess you can't have it all. I liked the highlight page for each year which summarizes the changes made from the previous year. Overall highly recommended.

A great book for any Ford antique lover...