It has been said that film and fiction have both fed at the same breast.
This is a striking way of observing how often novels are transformed into the big screen, considering the affinities between film and fiction.
In Apocalypse Now, just as in Heart of Darkness, the central journey is both a literal and a metaphoric one.
It is basically a voyage of discovery into the dark heart of man, and an encounter with his capacity for evil.
This is simply because in the novel, the narrator often communicates his subjective reaction to the episodes from the past he is narrating to the reader.
In identifying so strongly with Kurtz, Coppola alters the issue of power and upsets the delicate balance between the subject of Vietnam and the Conrad story.
While it is true that the central character remains on the screen more than anyone else in the movie, and his comments are often there on the sound track, the viewer still does not see others completely from his point of view, as the reader does in the novel.
Hence, Apocalypse Now is robbed of some of the emotional intensity that one feels when one reads Heart of Darkness.
Another element of Comparing and contrasting apocalypse now and heart of darkness Now which serves to bring it closer to Heart of Darkness is employing Willard as the narrator of the film, just as Marlow is the narrator of the novella.
Thus Willard is comparing and contrasting apocalypse now and heart of darkness internal or subjective narrator, because he gives his personal reactions to his own experiences as he narrates them over the soundtrack.