{"id":9380,"date":"2017-08-24T00:57:55","date_gmt":"2017-08-24T04:57:55","guid":{"rendered":"http:\/\/operawire.wpengine.com\/?p=9380"},"modified":"2017-08-24T00:57:55","modified_gmt":"2017-08-24T04:57:55","slug":"opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now","status":"publish","type":"post","link":"https:\/\/operawire.com\/opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now\/","title":{"rendered":"Opera Meets Film: How Wagner&#8217;s &#8216;Ride of the Valkyries&#8217; Exposes Moral Corruption, Not Heroism, of American Forces in &#8216;Apocalypse Now&#8217;"},"content":{"rendered":"<p><em>\u201cOpera Meets Film\u201d is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week\u2019s installment features Francis Ford Coppola\u2019s Apocalypse Now.\u201d<\/em><\/p>\n<p>One of the most famous instances of an operatic passage being used in film is from Francis Ford Coppola\u2019s \u201cApocalypse Now.\u201d<\/p>\n<p>In some ways, Wagner\u2019s \u201cRide of the Valkyries\u201d is seared into popular consciousness thanks largely to that two-and-a-half minute clip that pits the famed battle cry with the destruction of a Vietnamese City by US choppers.<\/p>\n<p><strong>Musical and Visual Heroism?<\/strong><\/p>\n<p>On first glance, it is a moment of cinematic brilliance, Wagner\u2019s imposing score combining wonderfully with the visuals to emphasize the military dominance of the American forces. The cries of \u201cHoyotoho\u201d sound in the background as we see the helicopters approaching the village from afar, their vocal ascensions growing more and more intense as the helicopters grow closer. And then as the group of sopranos hit their high notes in unison, the first missile is fired over Wagner\u2019s orchestral invocation of the main theme.<\/p>\n<p>From there it repeats and repeats as the US troops continue blowing up the villagers around them, the day won from them as it is for the Valkyries of Wagner\u2019s opera.<\/p>\n<p>Yes, on the surface, it is a musical means of emphasizing the power and grandiosity of the military force from the US in Vietnam.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/TqtehtSB0LI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>But we all know how that tale ends. In madness and embarrassment, as the rest of the film ultimately explores and expresses.<\/p>\n<p><strong>Wrong Side of History<\/strong><\/p>\n<p>And because of this, we can\u2019t just look at Coppola\u2019s choice of music and see it as just a sign of power. We can\u2019t just see it as congratulatory to the American forces either.<\/p>\n<p>And while I could talk about Wagner and his association with Nazi Germany, I won\u2019t. I will actually look at something more American.<\/p>\n<p>D.W. Griffith\u2019s \u201cBirth of a Nation\u201d was the first major example of the use of this famous passage in a film. In his case, he showcases the music to accompany a heroic battle in which the Ku Klux Klan comes to save a village from black soldiers. Viewed through a modern lens, this sequence is racist and, quite frankly, horrific to watch. There is nothing heroic about the music and what it supports.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/sSaC-l7B35w\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Coppola\u2019s alignment here of music and film serves as a means of bridging the two scenes of violent raids on villages by \u201cmorally righteous\u201d American armies. Instead of emphasizing the heroic nature of the US forces in \u201cApocalypse Now,\u201d we are asked instead, to consider whether the actions in Vietnam might not be as cruel as those explored in Griffith\u2019s film?<\/p>\n<p>While Griffith wrongly believes that he is depicting true heroism, Coppola\u2019s revision in his own film makes no mistake about how he views the actions in both cinematic works \u2013 and he is not seeing the US forces as being on the right side of history in either case.<\/p>\n<p>The irony of all this (and the directors maybe didn\u2019t anticipate that mainstream movie audiences would pick up on it) is that the heroic Valkyries that we see at the start of Act 3 cower in fear a few moments later when their father Wotan appears.<\/p>\n<p>They don\u2019t appear so potent any longer.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cOpera Meets Film\u201d is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week\u2019s installment features Francis Ford Coppola\u2019s&nbsp;{&hellip;}<\/p>\n","protected":false},"author":2,"featured_media":9383,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2348,6],"tags":[1021,45],"class_list":["post-9380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opera-meets-film","category-high-notes","tag-die-walkure","tag-wagner"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Opera Meets Film: How Wagner&#039;s &#039;Ride of the Valkyries&#039; Exposes Moral Corruption, Not Heroism, of American Forces in &#039;Apocalypse Now&#039; - OperaWire<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Opera Meets Film: How Wagner&#039;s &#039;Ride of the Valkyries&#039; Exposes Moral Corruption, Not Heroism, of American Forces in &#039;Apocalypse Now&#039; - OperaWire\" \/>\n<meta property=\"og:description\" content=\"\u201cOpera Meets Film\u201d is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week\u2019s installment features Francis Ford Coppola\u2019s&nbsp;{&hellip;}\" \/>\n<meta property=\"og:url\" content=\"https:\/\/operawire.com\/opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now\/\" \/>\n<meta property=\"og:site_name\" content=\"OperaWire\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/operawire\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-08-24T04:57:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/operawire.com\/wp-content\/uploads\/2017\/08\/pjimage-6-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"David Salazar\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@operawirenews\" \/>\n<meta name=\"twitter:site\" content=\"@operawirenews\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"David Salazar\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/operawire.com\/opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/operawire.com\/opera-meets-film-how-wagners-ride-of-the-valkyries-exposes-moral-corruption-not-heroism-of-american-forces-in-apocalypse-now\/\"},\"author\":{\"name\":\"David Salazar\",\"@id\":\"https:\/\/operawire.com\/#\/schema\/person\/c889c748e34fb190f9ba97b1b89f0558\"},\"headline\":\"Opera Meets Film: How Wagner&#8217;s &#8216;Ride of the Valkyries&#8217; 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