Cotton Club

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.

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.

One gets the sense that 'The Cotton Club (1984)' will improve upon repeat viewings, once you've become accustomed to what director Francis Ford Coppola was attempting. After all, this is a gangster film from the man who brought us 'The Godfather (1972)' and its sequels – what else could we expect but another Corleone saga? The film we're delivered is nothing of the sort, a testament to the director's constant willingness to take risks and experiment with new ideas. Indeed, rather than trying to emulate Coppola's former successes, 'The Cotton Club' could more accurately be described as a "gangster musical," a realisation that took me until the film's second half. Do those two genres even go together? Perhaps taking inspiration from Herbert Ross' 'Pennies from Heaven (1981)' – and the mini-series on which it was based – the film blends the ugly brutality and corruption of the Prohibition- era with the dazzling bright lights of the Cotton Club, Harlem's premiere night club. It is this deliberate but uneasy juxtaposition of reality and fantasy that fuels Coppola's vision, an ambitious undertaking without a dominant focus.

The film's major storyline concerns Dixie Dwyer (Richard Gere), a comparatively ordinary jazz musician who unexpectedly finds himself associating with organised crime boss "Dutch" Schultz (James Remar). Dixie is interesting because, unlike your typical hero consumed by the allure of amoral riches, he always remains peripheral to the world of gangsters; he observes, with disapproval, its dishonesty and depravity, but rarely finds himself a part of it. In fact, the closest he ever comes to being a gangster is in Hollywood, where he shares the sort of film roles that made James Cagney and Edward G. Robinson famous. Coppola might have been offering a commentary on the inherently romanticised version of reality offered by the movies, but his "real world" of gangsters is scarcely less stylised. The seedy underbelly of organised crime is paradoxically depicted as taking place in the classiest locales in Harlem, where the crime bosses consume the best alcohol and mix with Hollywood's elite talent (Chaplin, Swanson and Cagney among the featured patrons).

Proving further that Coppola wasn't attempting to replicate his Corleone saga, 'The Cotton Club' also features a rather extraneous subplot with Maurice and Gregory Hines as African-American tap-dancers vying for the "big-time" at the Cotton Club, where (in a bizarre discriminatory switch) only black performers are hired. The regular cross-cutting between this story and Dixie Dwyer's doesn't quite work, and, in any case, the taut romance between Dwyer and tough-girl Vera (an absolutely gorgeous Diane Lane) is much more involving than that between Sandman Williams (Gregory Hines) and mixed-race dancer Lila (Lonette McKee). Among the film's impressive supporting performers are Bob Hoskins and Fred Gwynne as crime associates, Nicholas Cage as an overly-ambitious young thug, Laurence Fishburne as black crime boss Bumpy Rhodes, and James Remar, playing a sleazier and less identifiable version of Dutch Schultz to Dustin Hoffman in 'Billy Bathgate (1991).' The premiere gangster film of 1984 was Leone's 'Once Upon a Time in America (1984),' but, despite being runner-up, nobody can accuse Coppola of playing it safe.

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.

This is a great movie. I personally don't think the beautiful Diane Lane could be in a bad flick, she would make the worst one good. I was impressed with Richard Geres musical ability as he played his own coronet and sounded as good as anyone I've ever heard. The dancing was superb, the costumes beautiful and the plot authentic. It took me back to the great musicals of the forties and fifties. I was raised in the waning days of the era of this movie, the thirties, and I could almost hear my Dad talking about the evils of the big cities while we listened to the radio news of gangsters and shootouts. I would recommend this movie to anyone. I rate it 10/10.