Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »
A Sergeant must deal with his desires to save the lives of young soldiers being sent to Viet Nam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son of an old Army buddy.
Francis Ford Coppola
James Earl Jones
Enticed by a script by Mario Puzo and the promise of funding from Las Vegas casino-owning brothers Edward Doumani and Fred Doumani, Paramount offered producer Robert Evans the talents of Richard Gere as leading man and access to its studio facilities along with further production funds. However, determined to re-establish his reputation as a major player in Hollywood, Evans turned down the latter offer in favor of the services of Orion Pictures--which was in the business of marketing and distributing films rather than producing them, meaning that Evans would need to raise more production money and find a studio in which to shoot the film, causing further delays and adding to the already bloated budget. See more »
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 »
[a boy runs up to Dixie in the street]
Boy in Street:
Vincent's been telling everyone around here that you saved the Dutchman's ass!
See more »
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.
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