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From: ecl@ahuta.UUCP (ecl)
Newsgroups: net.movies
Subject: THE COTTON CLUB
Message-ID: <228@ahuta.UUCP>
Date: Sun, 16-Dec-84 09:53:27 EST
Article-I.D.: ahuta.228
Posted: Sun Dec 16 09:53:27 1984
Date-Received: Mon, 17-Dec-84 03:24:23 EST
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                              THE COTTON CLUB
                      A film review by Mark R. Leeper

     Francis Ford Coppola's career has had its ups and downs.  The biggest
ups were the two GODFATHER films; the biggest down is probably the more
recent tone experiment ONE FROM THE HEART.  Coppola films come with big
price tags and some win big at the boxoffice, but more recently they have
been losing big.  Coppola needs a box office winner so he is returning to a
subject that has worked for him in the past.  He has made another lavish
gangster film.

     THE COTTON CLUB takes place in the late Twenties and early Thirties
when gangsters and celebrities would slum in Harlem.  The number one
slumming spot was the Cotton Club, a posh night spot where blacks
entertained, where legends like Cab Calloway and Duke Ellington were born,
but where the audience was white only.  THE COTTON CLUB is the story of two
pairs of brothers, the Irish Dwyers and the black Williamses.  The Dwyers
get involved with the psychopathic hood Dutch Schultz (played by James
Remar) and the pugnacious Owney Madden (Bob Hoskins), owner of the Cotton
Club, racketeer, and self-appointed peacemaker among the bootleggers.

     THE COTTON CLUB is structured much like Ragtime with many intertwined
stories being developed at the same time.  As much as this film has a main
character, it is Dixie Dwyer (Richard Gere), a cornet player who saves Dutch
Schultz's life and, with his brother, is sucked into the world of
bootleggers and numbers runners.  The story also follows Sandman Williams
(Gregory Hines), who is chasing stardom and one Lila Rose Oliver (Lonette
McKee).  Lila Rose wants to make it as a star too, but her skin is light
enough that she wants to make it as a white star.  The story for THE COTTON
CLUB is by William Kennedy, Coppola, and Mario Puzo.  What makes the film
most watchable is the same sort of racketeer politics that Coppola and Puzo
put into the GODFATHER films.  The "who is doing what to whom and why" and
the backdrop of the Twenties fascinates the viewer and make 127 minutes go
by quickly.

     Though Gere plays the main character of a memorable film, his will not
be the most memorable part of the film.  Somehow his character is never
developed to the point that we really care much about him.  And the
authenticity of his story is destroyed by some miscalculated scenes at the
end that could have been from a Thirties musical.  Curiously, the film's
most memorable scene is between Madden and his lumbering bodyguard Frenchie
(Fred Gwynne).  These minor characters--and a third, Sol Weinstein (Julien
Beck)--do more to make the film with far less screen time than any of the
major characters.  The musical numbers also make the film work and give a
Twenties feel to the story, but by the end of the film we have seen just two
or three two many of them.

     So did returning to gangsters and period pieces pay off for Coppola?
THE COTTON CLUB is flawed, but it joins THE NATURAL and AMADEUS as one of
the best of the year.  Watch for it at Oscar time.

					(Evelyn C. Leeper for)
					Mark R. Leeper
					...ihnp4!lznv!mrl