As they walk along the bank of the river, Kit stands at the edge of the turgid water and points to an uprooted tree lying as driftwood in the water.Therealprize and goal of their water journey down the Ulanga-Bora, other than he destruction of a German boat, is to overcome the various psychological obstacles that stand between them.Vietnamese wilderness:Saigon.Shit! I'm still only in Saigon.Every time I think I'm gonna wake up back in the jungle.When I was home after my first tour, it was worse.I'd wake up and there'd be nothing.I hardly said a word to my wife, until I said 'yes' to a divorce.When I was here, I wanted to be there.When I was there, all I could think of was getting back into the jungle.I'm here a week now.I'm waiting for a mission - getting softer.Every minute I stay in this room, I get weaker.And every minute Charlie squats in the bush, he gets stronger.Each time I looked around, the walls moved in a little tighter.During a frenzied, spastic, half-nude karataka dance in the room, he self-destructively punches and breaks the mirror (symbolically destroying his own image), bloodies his right fist and then wipes the bright red blood all over his face and nude body.His flamboyant grandmother often let him share her bed or become acquainted with her lovers.Joe's eyes light up when he dials in a radio interview broadcast on WABC from New York, realizing that he is close to his destination.The film's tagline was:Antonioni's camera never flinches.At love without meaning.At murder without guilt.At the dazzle and the madness of London today.This was Antonioni's second color film (afterIl Deserto Rosso (1964, It.) (aka Red Desert)) and his first film in the English language, and it broke the four-film streak of Antonioni's films starring Monica Vitti (Red Desert (1964), L'Eclisse (1962), La Notte (1961),andL'Avventura (1960)).