The conflict in Vietnam, the so-called living room war had take up residence in the place where people lived, and seemed liked it was going to go on forever.
(Biskind, 1999: 60)
The Vietnam War, which had been a permanent fixture of the American landscape for a decade, was finally over, the despised Nixon licking his wounds in disgrace. It seemed as if the antiwar movement had won
(Biskind, 1999: 280)
Francis was in the throes of Apocalypse Now…a film about the Vietnam, a subject that was was still too sensitive for Hollywood to touch.
It was as if Coppola, the last man standing, had inherited the historical obligation of the New Hollywood-to make cinematic art of the seminal event of their generation.
(Biskind, 1999: 346)
Apocalypse revolved around the the issue of parricide. The New Hollywood directors were created in the crucible of generational conflict, and the highly charged relationship between fathers and sons became their core theme. Like the other Vietnam films, Apocalypse was less an attempt to grapple with the war in any realistic way than an occasion to hold up a mirror to the home-front struggles it provoked.
(Biskind, 1999: 374)
Biskind, Peter (1999) Easy Riders, Raging Bulls. London: Bloomsbury Publishing.