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The Cotton Club (1984)

The Cotton Club was a famous night club in Harlem. The story follows the people that visited the club, those that ran it, and is peppered with the Jazz music that made it so famous.

Director:

(as Francis Coppola)

Writers:

(screenplay), (screenplay) (as Francis Coppola) | 4 more credits »

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Nominated for 2 Oscars. Another 1 win & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Frances Flegenheimer
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Madame St. Clair
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Bumpy Rhodes (as Larry Fishburne)
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Storyline

The Cotton Club was a famous night club in Harlem. The story follows the people that visited the club, those that ran it, and is peppered with the Jazz music that made it so famous. Written by Colin Tinto <cst@imdb.com>

Plot Summary | Add Synopsis

Taglines:

It was the jazz age. It was an era of elegance and violence. The action was gambling. The stakes were life and death. See more »

Genres:

Crime | Drama | Music

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

14 December 1984 (USA)  »

Also Known As:

The Cotton Club Encore  »

Filming Locations:

 »

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Box Office

Budget:

$58,000,000 (estimated)

Opening Weekend USA:

$2,903,603, 16 December 1984, Wide Release

Gross USA:

$25,928,721
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

| (video)

Sound Mix:

(70 mm prints)| (35 mm prints)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Sigourney Weaver turned down the role of Lila Rose Oliver. See more »

Goofs

During the montage song Ill Wind there is a shot of coins and bills being poured out. The dimes in the shot are Eisenhower dimes, a president in the 50's. See more »

Quotes

Bumpy Rhodes: [violently accosting a racist guard] This uppity nigger is buying you a drink!
[flushes his head down the toilet]
See more »


Soundtracks

I Can't Believe That You're In Love With Me
Written by Jimmy McHugh and Clarence Gaskill
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User Reviews

 
"That's how they live in this world. Maybe one day you'll wise up, sap"
8 May 2009 | by See all my reviews

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.


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