Even before multiplexing in the name of staggered showtimes became the norm, it was unusual to find an 8:30 am matinee. But with a running time of 147 minutes, Francis Ford Coppola wanted to squeeze in as many showings as possible at Chicago’s palatial, 2,649 seat State Lake Theatre. Legend has it that members of the Zoetrope Geek Squad spent several nights leading up to opening day tweaking the 70mm Six-Track Dolby Stereo system. The directional sound impelled the fluttering helicopters in one ear and out the other across the cavernous auditorium. The audience ducked and weaved in unison to avoid being trampled by a tiger unexpectedly bolting from out the greenness. Equally unforgettable was the aroma of the four hoofs-and-lips roller dogs that were enthusiastically inhaled by the two gentlemen seated three rows to the fore. (I hate the smell of red-hots in the morning.) To ensure an anomalistic debut, Coppola forewent the customary title sequences, choosing instead to send audiences packing with printed credits in hand. The version to be screened is neither the original, nor the toilsome 196-minute Redux; rather, a new 183-minute trim called Apocalypse Now Final Cut. Check movie listings for IMAX 2D dates and showtimes.