Cotton Club

The Cotton Club is such a well-made movie, you have to wonder why so many critics and audiences ignored it when it was first released. Was it because of the murder case surrounding its production? Or did some people feel that a mixture of gangster films and Hollywood musicals didn't mix? Whatever the reason, The Cotton Club deserves to be watched again and again, not just for its music and dancing, but for the great performances, scenery, cars, costumes...and tommy-guns. The movie was nominated for two Oscars, but a third nomination should have gone to Bob Hoskins, for his brilliant performance as Owney Madden. Despite his few film credits, James Remar is brilliant as Dutch Schultz and comes across as the sort of person you wouldn't want to meet in a dark alley.

There are rumours the film may be re-released with scenes and music that were cut from the original version. If this is true, would the film finally become a hit? After all, Robert Evans, the film's producer, apparently told one reporter..."How can it miss? It's got gangsters, music and girls." Well said, Robert.

The Cotton Club is a dazzling, complex film that attempts so much it would be almost impossible for nearly any director to pull it off. But Francis Ford Coppola is not any director, so The Cotton Club is not just any movie. Rather, it succeeds at practically all levels and is certainly a film worth coming back to again and again.

Set in Harlem in the late 1920s, we are introduced to a group of Jazz Age-products, people who see themselves exactly as they are but all hope to go somewhere better. Two story lines occupy the plot; we get a good-looking young musician Dixie Dwyer (Richard Gere) who gets involved in the mob after falling for one of the gangster's girlfriends (Diane Lane) and we get the story of a very talented black dancer (Gregory Hines) trying to prove his love to a half-black and half-white chorus girl who seems to struggle with her place in this more or less racist society. Almost every night, everyone gathers at The Cotton Club, one of the most famous clubs in the city and the blacks entertain while the whites drink and watch. But Coppola gives us a view from all angles so it doesn't feel as if we are missing anything important.

One of the biggest achievements of this film is its staging of the dance sequences, which are to say the least quite exquisite. Filled with colorful costumes and some mind-boggling tap numbers, at times you may forget that this is also a gangster picture. Indeed, some scenes feel just like Coppola's The Godfather with its quick bursts of violence but also in its tone of sad, elegiac setting. People come and go and some regret the things they do, but the music lives on. The acting is also very strong as Gere and Lane are quite wonderful in their first of three films together. Both were very good-looking and they do bring out the best in each other. Two supporting actors that really do steal the show are Bob Hoskins and Fred Gwynne as a mob boss and his head bodyguard. They share a tenacity and ferociousness in their dealings, but also have one really terrific scene involving Gwynne coming to see Hoskins after being kidnapped. A young Nicolas Cage also shows here he had incredible potential.

This Broadway version of the gangster film so familiar in Hollywood refreshes both genres as we see the similarities between the two. Indeed, many of the participators in the entertainment were also involved in the mob and Coppola shows how the two lives intertwine and bring a lot of trouble to everyone. This may seem as a strange mixing of genres and story lines for some people, but it is well worth the two hours. It is funny, sad, violent, poetic but also enormously entertaining and isn't that what the movies are all about? Coppola seems to think so.

The first time I saw this movie I loved the music and dancing and appreciated the setting. I found it strange and couldn't follow it properly. I watched it a second and third time, partly to see the dancing again, and listen to the music, and the plot completely grew on me. I absolutely love this movie. It is complex, and extremely accurate in its portrayal of the time when gangsters owned stars. If you love jazz music and know a little about its history, you will be enraptured by this movie.

The acting is incredible, and highlights the subtle twists in the plot beautifully. The cinematography is done in a most expert fashion. Richard Gere and Gregory Hines are absolutely charming, and Diane Lane is perfect is Vera Cicero. Lonette McKee has one of the most beautiful voices you will ever hear, it is no wonder she received a Tony award. Any viewer will be surprised by the guest appearances including Nicholas Cage, Bob Hoskins, Lawrence Fishburne, and on-screen and real-life brother of Gregory, Maurice Hines. Not only one of Coppola's best, but one of the best of all time.

Part fictional and part non-fictional, this lavish two-hour Francis Ford Coppola film spotlights the Cotton Club, the legendary, real-life Harlem jazz nightclub that flourished in the Prohibition era of the late 1920s and early 1930s. Richard Gere plays Dixie Dwyer, a young musician who works for mobsters, in an effort to advance his career. Dwyer falls in love with Vera Cicero (Diane Lane), the girlfriend of gangster Dutch Schultz (James Remar). The Dwyer character is based loosely on real-life jazz trumpet player Bix Beiderbecke.

Throughout the film, various gangsters and bootleggers interact, sometimes violently, but much of the action centers around the Cotton Club, an establishment owned in real-life by Owney Madden, played in the film by actor Bob Hoskins. Madden would bring in Black performers to entertain a Whites-only clientèle, a truly racist policy, and a major plot point in the film's story.

The film's plot is somewhat muddled, the result of a less than stellar screenplay. And, as you would expect, the gangster characters are not terribly likable. But the film overcomes these script weaknesses with a captivating visual and musical style that is both tawdry and elegant. The corruption, the violence, and the implied sleaze are garish and tawdry to be sure. Yet, the Club's ambiance gushes with a certain elegance and glamour. It's a strange mix, but one that is entirely consistent with that era in U.S. history.

The film gets points from me for its lush, period piece costumes and production design, and adroit lighting, as well as all those jazz numbers, both sultry and flashy. Gregory Hines together with brother Maurice Hines provide some snappy tap dancing, some of which is improvised. Interestingly, their grandmother really did perform at the Cotton Club during its heyday. Also of interest in the film, viewers get to watch towering Fred Gwynne, who plays Frenchy, the oh-so-serious assistant to Owney Madden; the two of them engage in some interesting dialogue.

Although the script's story and characters are less than ideal, I enjoyed the film a lot, mostly as a result of the tawdry and elegant visual style combined with the lavish jazz numbers. If you're interested in gangster movies or the Prohibition era of American history, this film is a must-see.

Francis Ford Coppola's The Cotton Club is every bit as dazzling, chaotic and decadent as one might imagine the roaring twenties would have been. it's set in and revolves around the titular jazz club, conducting a boisterous, kaleidoscope study of the various dames, dapper gents, hoodlums, harlots and musicians who called it home. Among them are would be gangster Dixie Dwyer (a slick Richard Gere), Sandman Williams (Gregory Hines), a young Bumpy Johnson (Laurence Fishburne) and renowned psychopathic mobster Dutch Schultz (a ferocious James Remar). Coppola wisely ducks a routine plot line in favor of a helter skelter, raucous cascade of delirious partying, violence and steamy romance, a stylistic choice almost reminiscent of Robert Altman. Characters come and go, fight and feud, drink and dance and generally keep up the kind of manic energy and pizazz that only the 20's could sustain. The cast is positively stacked, so watch for appearances from Nicolas Case, Bob Hoskins, Diane Lane, John P. Ryan, James Russo, Fred Gwynne, Allen Garfield, Ed O Ross, Diane Venora, Woody Strode, Giancarlo Esposito, Bill Cobbs, Sofia Coppola and singer Tom Waits as Irving Stark, the club's owner. It's a messily woven tapestry of crime and excess held together by brief encounters, hot blooded conflict and that ever present jazz music which fuels the characters along with the perpetual haze of booze and cigarette smoke. Good times.