Post by tzinana on Jul 26, 2005 19:34:01 GMT
THERE'S NO KNOCKING 'THE DOORS,' A ROCK FILM
GEM
By Brian G. Bourke
The Post-Standard (Syracuse, NY)
March 4, 1991
Video may have killed the radio star, but film has
always been one of rock 'n' roll's best friends.
Oliver Stone's "The Doors" captures the band, its
tragic but charismatic lead singer Jim Morrison and
their time in history quite well. Much better than I
expected, as a matter of fact. One's interpretation of
this film will depend largely on the baggage they
bring to it, but it catches the spirit of the music
and the fury beneath like few non-documentary rock
films have.
The music is not just the soundtrack for "The Doors."
It is the star of this movie and the camera serves it,
rather than the MTV approach, which is just the
opposite.
VAL KILMER, who plays the lead, is not Jim Morrison,
but he's as close as Hollywood is likely to come. (I
still think, however, that INXS' Michael Hutchence
would have been the better choice.) He actually sings
the on-screen numbers in a voice that sounds as
tortured and as aggressive -- albeit not as
full-bodied -- as Morrison himself.
"The Doors" is beautifully photographed and edited --
not too surprising given Stone's talents. An early
scene in the desert does a better job than any
previous movie attempt at portraying the influence of
psychedelic drugs on the best of '60s rock 'n' roll.
It's here that Morrison first comes to terms with two
characters: a large skin-headed creature that
represents death, and an Indian shaman -- a medicine
man whose music and peyote-induced trances help define
good and evil for his people. As Stone tells it in a
somewhat confusing opening scene, this shaman was to
have entered Morrison's body as a child and influenced
the rest of his life.
Morrison as shaman and Morrison as Dionysus -- the
Greek god of the vine and of revelry -- are central
themes to "The Doors." Yet, so is Morrison as Icarus.
In his short, tragic life, the vocalist flies high,
almost high enough to help us "Break on through to the
other side," to get beneath the fabric of society. But
like so many of popular culture's heroes, Morrison
crashes and burns before his journey is complete.
IF STONE'S obsession with the '60s wasn't clear after
"Platoon" and "Born on the Fourth of July," it should
be now. One of the greatest achievements of this film
is putting Morrison, his band and their followers into
the proper context. One of the most telling scenes is
where Morrison returns from a Miami courtroom a broken
man, following an obscenity conviction is Florida.
(Musicians arrested in Florida! Thank God that could
never happen in the '90s! Could it?) Quick-cut editing
mixes Morrison's sunken face and comments from his
drinking buddies and legal experts with scenes of
Americans burning Vietnam, the murders of Robert
Kennedy and Martin Luther King Jr. and the frightening
face of Charles Manson.
And it is the face of Manson -- i.e. the face of death
-- rather than Morrison, that Kilmer most resembles
when he says good-bye to other Doors to go live in
Paris. His bandmates would never see him again. Jim
Morrison died in a Paris bathtub at age 27.
The downside of the '60s is also caught. Ed Sullivan
tries to censor "Light My Fire." Cops mace Morrison in
New Haven and then arrest him when he tells the
audience about it. Yes sir, Tipper Gore has historical
precedent.
THE ACTORS portraying the three surviving Doors also
give convincing performances. Kyle MacLachlan ("Twin
Peaks") as Ray Manzarek -- forget the Agent Cooper on
acid jokes -- Syracuse native Frank Whaley as Robby
Krieger and Kevin Dillon as John Densmore all do
exceptional jobs.
Many rock types and people crucial to the Doors'
career turn up in smaller roles. Drummer Densmore
portrays a music manager. Bill Graham plays a sleazy
promoter -- typecasting? -- as does rocker Billy Vera.
Alleged journalist and Morrison groupie Patricia
Kennealy -- portrayed by Kathleen Quinlan in the film
-- is a high priestess of the Wicca religion. The
best, however, is Billy Idol as Cat, one of Morrison's
drinking buddies.
The music in "The Doors" is excellent. The Elektra
Records soundtrack features many great tunes by the
real band -- vocals by Morrison, not Kilmer -- as well
as such other period pieces as the Velvet
Underground's "Heroin" and "Venus in Furs."
GEM
By Brian G. Bourke
The Post-Standard (Syracuse, NY)
March 4, 1991
Video may have killed the radio star, but film has
always been one of rock 'n' roll's best friends.
Oliver Stone's "The Doors" captures the band, its
tragic but charismatic lead singer Jim Morrison and
their time in history quite well. Much better than I
expected, as a matter of fact. One's interpretation of
this film will depend largely on the baggage they
bring to it, but it catches the spirit of the music
and the fury beneath like few non-documentary rock
films have.
The music is not just the soundtrack for "The Doors."
It is the star of this movie and the camera serves it,
rather than the MTV approach, which is just the
opposite.
VAL KILMER, who plays the lead, is not Jim Morrison,
but he's as close as Hollywood is likely to come. (I
still think, however, that INXS' Michael Hutchence
would have been the better choice.) He actually sings
the on-screen numbers in a voice that sounds as
tortured and as aggressive -- albeit not as
full-bodied -- as Morrison himself.
"The Doors" is beautifully photographed and edited --
not too surprising given Stone's talents. An early
scene in the desert does a better job than any
previous movie attempt at portraying the influence of
psychedelic drugs on the best of '60s rock 'n' roll.
It's here that Morrison first comes to terms with two
characters: a large skin-headed creature that
represents death, and an Indian shaman -- a medicine
man whose music and peyote-induced trances help define
good and evil for his people. As Stone tells it in a
somewhat confusing opening scene, this shaman was to
have entered Morrison's body as a child and influenced
the rest of his life.
Morrison as shaman and Morrison as Dionysus -- the
Greek god of the vine and of revelry -- are central
themes to "The Doors." Yet, so is Morrison as Icarus.
In his short, tragic life, the vocalist flies high,
almost high enough to help us "Break on through to the
other side," to get beneath the fabric of society. But
like so many of popular culture's heroes, Morrison
crashes and burns before his journey is complete.
IF STONE'S obsession with the '60s wasn't clear after
"Platoon" and "Born on the Fourth of July," it should
be now. One of the greatest achievements of this film
is putting Morrison, his band and their followers into
the proper context. One of the most telling scenes is
where Morrison returns from a Miami courtroom a broken
man, following an obscenity conviction is Florida.
(Musicians arrested in Florida! Thank God that could
never happen in the '90s! Could it?) Quick-cut editing
mixes Morrison's sunken face and comments from his
drinking buddies and legal experts with scenes of
Americans burning Vietnam, the murders of Robert
Kennedy and Martin Luther King Jr. and the frightening
face of Charles Manson.
And it is the face of Manson -- i.e. the face of death
-- rather than Morrison, that Kilmer most resembles
when he says good-bye to other Doors to go live in
Paris. His bandmates would never see him again. Jim
Morrison died in a Paris bathtub at age 27.
The downside of the '60s is also caught. Ed Sullivan
tries to censor "Light My Fire." Cops mace Morrison in
New Haven and then arrest him when he tells the
audience about it. Yes sir, Tipper Gore has historical
precedent.
THE ACTORS portraying the three surviving Doors also
give convincing performances. Kyle MacLachlan ("Twin
Peaks") as Ray Manzarek -- forget the Agent Cooper on
acid jokes -- Syracuse native Frank Whaley as Robby
Krieger and Kevin Dillon as John Densmore all do
exceptional jobs.
Many rock types and people crucial to the Doors'
career turn up in smaller roles. Drummer Densmore
portrays a music manager. Bill Graham plays a sleazy
promoter -- typecasting? -- as does rocker Billy Vera.
Alleged journalist and Morrison groupie Patricia
Kennealy -- portrayed by Kathleen Quinlan in the film
-- is a high priestess of the Wicca religion. The
best, however, is Billy Idol as Cat, one of Morrison's
drinking buddies.
The music in "The Doors" is excellent. The Elektra
Records soundtrack features many great tunes by the
real band -- vocals by Morrison, not Kilmer -- as well
as such other period pieces as the Velvet
Underground's "Heroin" and "Venus in Furs."
it was a good film, olover stone did a great job on it. he didnt include the whole truth and there are many things that he left out or never came across that would have been superb to put in there. and of course we all whinge about the fact that we only saw the self destructive side of jim. but its a good film, regardless...and captured the essence of most of the doors music.
