I remember walking out of a screening of The Cotton Club when it was first released, though that wasn’t entirely due to the film, and was surprised by actually how good the film is. I hadn’t noticed that director Francis Coppola had financed a ‘director’s cut’ (called ‘Encore’) that appeared last year, however it seems the version I’ve seen (on Talking Pictures) is the original version so that doesn’t explain the discrepant responses. Coppola made his name with the The Godfather (US, 1972) but, as the title suggests, The Cotton Club is more than a gangster movie. As the legendary venue in Harlem, that hosted Duke Ellington amongst others, in the pre-World War II period, it had a massive impact on popular music. Fascinatingly, what Coppola did, with his co-screenwriter William Kennedy (and story contribution from Mario Puzo), is make a hybrid musical-gangster film; two genres that, in terms of mood, are essentially polar opposites. Bugsy Malone (UK, 1976) did the same but it was a pastiche.
Even more interesting is the narrative which barely entwines the genre; it is, in effect, two films in one united by characters and location. Richard Gere’s Dixie is a cornet player (Gere showing his chops with some elan) who gets mixed up with James Remar’s Dutch Schultz, but much of the musical narrative centres on Gregory Hines’ Sandman who has nothing to do with the gangster and little to do with Dixie. This clearly spooked the financiers in 1984 as apparently many song and dance sequences were cut and the ‘black’ storyline, featuring Hines and Lonette McKee as Lila who can pass for white, severely downgraded. As is so often the case, in the re-edit the black characters were subservient to the white experience whereas (presumably) Coppola’s original, even though the lead was Gere, balanced the narratives much more.
In the musical genre song and dance sequences usually serve to move the narrative forward by, for example, bringing together the romantic leads. In The Cotton Club they are shown for their own sake and hence slow the narrative’s momentum, something anathema to Classical Hollywood. But bloody hell aren’t they good; particularly the Hines’ brothers’ (above) routines! The Encore version doesn’t seem to be available in the UK but I’d love to see it.
Coppola was one of the most interesting directors of the 1970s and 1980s: in addition to the first two Godfather films (Part II, 1974), there was The Conversation (1974), Apocalypse Now! (in several versions, originally 1979), One From the Heart (1981), Rumblefish (1983) and Tucker: The Man and His Dream (1988). Ultimately he was too arty for the box office and his big imagination demanded big budgets. Maybe Christopher Nolan is today’s equivalent with grandiose, thoughtful films but Coppola worked in numerous genres giving greater variety to his work.
Filed under: Independent cinema | Tagged: gangster, musical | Leave a comment »