3 Jun 2013

Heart of Darkness


Joseph Conrad's account of his character's experience of the jungle and the mysterious Kurtz is the purest example of colonial endeavours into the unknown, and the morbid fascination we have with such bleak adventure. With the end of the novel comes a sense of freedom from the claustrophobic descriptions of darkness, which follows the realisation that the experiences within the book are unlikely to ever be encountered in today's world.
It is a very well written book; the pace of the novel reflects the speed of the old steamer, crawling upriver further into the unknown, until Kurtz is met and 'dealt with', and the sailor Marlow's telling of his story to other crew members sat on a deck of a ship at anchor on the Thames means the reader is allowed brief moments of respite from the oppressive jungle atmosphere, perhaps like flashes of the sun through a heavy canopy of foliage.
But it has proved to be more than just a good read, inspiring many great films who deal with human's journeys into the unknown. Herzog's Aguirre, Wrath of God comes closest to Conrad's stifling tragedy, a brilliant film whose madness is a product of Herzog's fanatic directing methods coupled with Klaus Kinski's demonic presence, whose maniacal stare serves to capture the strength and destruction which teeter on the edge of Conrad's Kurtz. Apocalypse Now is Hollywood's attempt, and the force of the film comes from its stunning transplant of Conrad's novel to the Vietnam war; the infamous "the horror, the horror" line is visualised in my eyes by the napalming of the jungle in the opening scene. Marlon Brando opts to play Kurtz as a formidable physical presence battling with a hellish kingdom of his creation, a haunting screen presence compared with the ghostlike Kurtz of Conrad's African jungle.
A slightly more tenuous product of the 'heart of darkness' concept is the monolith in 2001: a Space Odyssey. While the psychedelic journey through the darkness of space is arguably a more obvious metaphor for mankind's progress into the unknown, the monolith itself, pure blackness with no explanation behind its appearance or existence, could be taken as a concentrated physical embodiment of our unanswered questions. Arriving at the beginning to spark the dawn of man, and later discovered by man's progress beyond earth, its appearance at the end of the film reminds us of the potential crushing force of the unknown, with us all our lives this darkness can never be illuminated, something we have to accept in order to live our lives (particularly relevant for discussion of 2001, which has no firm explanation from Kubrick or widely agreed theories behind its meaning).
2001 shows us the shift from earthly threats to that which beyond our planet. While space has become the subject of our interest and exploration since the 20th century, the jungle still holds a magic over us, as it did over Conrad. Its exoticism and danger combine to have me fascinated and most other people respectful of one of the last remaining unknowns on earth.

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