list http://www.spout.com/ Recent community activity around The Doors on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Doors/9546/default.aspx Title: The Doors
Year: 1991
Director: Oliver Stone
Plot: Val Kilmer delivers what was considered one of 1991's best performances as Jim Morrison in Oliver Stone's hallucinatory bio-pic of the seminal 1960s rock group The Doors. Stone cuts a jagged swath through Morrison's life, starting with a childhood memory where Morrison sees an elderly Indian dying by the roadside. It picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days at UCLA; his introduction to his girlfriend Pamela Courson (Meg Ryan); his first encounters with Ray Manzarek (Kyle MacLachlan); and the origin of The Doors -- made up of Manzarek, Robby Kreiger (Frank Whaley), and John Densmore (Kevin Dillon). As the fame of The Doors grows, Morrison's obsession with death increases. The band grows weary of Morrison's missed recording sessions and no-shows at concerts. Morrison, meanwhile, sinks deeper into a drug-induced haze, having mystical sexual encounters with Patricia Kennealy (Kathleen Quinlan), an older rock journalist involved with sadomasochism and witchcraft. ~ Paul Brenner, All Movie Guide
Times Tagged: 48
Number of Lists: 28
Number of blog posts: 7
Number of discussion threads: 1
SpoutRating: 3
]]>Fri, 31 Jul 2009 19:52:41 GMTThe Doors1991Oliver Stone<a href="/players/P____38142/default.aspx" style='text-decoration:underline'>Val Kilmer</a> delivers what was considered one of 1991's best performances as Jim Morrison in <a href="/players/P___112907/default.aspx" style='text-decoration:underline'>Oliver Stone</a>'s hallucinatory bio-pic of the seminal 1960s rock group The Doors. Stone cuts a jagged swath through Morrison's life, starting with a childhood memory where Morrison sees an elderly Indian dying by the roadside. It picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days at UCLA; his introduction to his girlfriend Pamela Courson (<a href="/players/P____62388/default.aspx" style='text-decoration:underline'>Meg Ryan</a>); his first encounters with Ray Manzarek (<a href="/players/P____44254/default.aspx" style='text-decoration:underline'>Kyle MacLachlan</a>); and the origin of The Doors -- made up of Manzarek, Robby Kreiger (<a href="/players/P____75742/default.aspx" style='text-decoration:underline'>Frank Whaley</a>), and John Densmore (<a href="/players/P____19208/default.aspx" style='text-decoration:underline'>Kevin Dillon</a>). As the fame of The Doors grows, Morrison's obsession with death increases. The band grows weary of Morrison's missed recording sessions and no-shows at concerts. Morrison, meanwhile, sinks deeper into a drug-induced haze, having mystical sexual encounters with Patricia Kennealy (<a href="/players/P____58258/default.aspx" style='text-decoration:underline'>Kathleen Quinlan</a>), an older rock journalist involved with sadomasochism and witchcraft. ~ Paul Brenner, All Movie Guide48Tag Target (>10)28713http://www.spout.com/ProductImages/t91240w0alk.jpghttp://www.spout.com/films/The_Doors/9546/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/1/14/39540.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/14/2009 5:00:23 PM
Body: This weekend’s box office is almost sure to go to Notorious, Fox Searchlight’s much-anticipated biopic about rapper Biggie Smalls (aka The Notorious B.I.G.; aka Big Poppa; aka Christopher Wallace), who tragically met his end 12 years ago in a controversial shooting. So far, the reviews are mostly favorable, though even a 0% score on RottenTomatoes.com couldn’t keep people away from this film. Fans aren’t likely to learn anything new about the hip-hop star, and they sure won’t gain any fresh revelations regarding the mysterious circumstances behind Biggie’s death, but they’ll definitely enjoy seeing the icon portrayed on the big screen (partly by his own look-alike son, Christopher Jordan Wallace). Like Newsweek critic Allison Samuels, many moviegoers will feel like they’re “attending a 10-year high-school reunion and reliving the good old days.” And with the success of Notorious, both Hollywood and hip-hop fans will probably be begging for more. So, in anticipation of the potential copycats, and in hope for the best, we’ve selected five deceased rappers who are also worthy of the biopic treatment. Tupac Shakur (aka 2Pac; aka Makaveli) Inspiring a poll over at MTV.com asking what other rappers deserve a biopic, Notorious co-stars Derek Luke and Anthony Mackie have suggested their onscreen counterparts — Sean “Puffy” Combs and Tupac Shakur, respectively. While nobody needs to see the former, a film about Tupac is certainly a good idea. And it’s only fair. In fact, a film about his life, which also ended in a tragic shooting, might have to be a straight prequel to Notorious. Mackie would reprise his role, as would anyone else appropriate to the second film, and it would also be directed by George Tillman, Jr. But of course it would be executive produced by Suge Knight rather than Combs. Easy-E In 1995, when Easy-E announced he had AIDS, it was still not commonly understood that heterosexual males were also very susceptible to the epidemic. So, on his deathbed, he wrote a statement directed toward his young fans warning of the non-discriminating reality of AIDS, telling them “it affects everyone.” Then, within days of that message, he died. That sounds like a very powerful and tearjerking ending to a biopic about the former N.W.A. member. The stuff that comes before Easy-E’s contraction of and quick demise from AIDS, such as his enterprising turn from drug dealer to record company founder and his feud with Dr. Dre, might also be interesting. But in movie terms his affect on HIV and AIDS awareness is the key to a sellable pitch of his story. Ol’ Dirty Bastard (aka ODB; aka Dirt McDirt; aka Big Baby Jesus) Some might not think Ol’ Dirty Bastard appropriate for a biopic. For one thing, the Wu-Tang Clan rapper wouldn’t be an easily liked protagonist. For another, his life story might not have been interesting enough, evidenced by Jamie Lowe’s recently published book Digging for Dirt: The Life and Death of ODB, which has been criticized for being more an explorative profile than a biography. And ultimately, of course, it would be very difficult to find someone who could portray him well enough. ODB was a total character, an erratic and profane individual possibly afflicted with mental illness, and it’s improbable that any actor could do him justice. Still, it would be entertaining to see a filmmaker attempt to capture his crazy life. If Oliver Stone can find someone to sufficiently portray Jim Morrison in a biopic, someone should be able to find a relatively suitable person to play ODB. Left Eye The life of TLC’s Left Eye Lopes is ripe for a generic biopic. There are the childhood experiences with abuse and alcoholism, the adulthood experiences with abuse and alcoholism, and the tragic conclusion involving her car accident death, which occurred at a time when she was preparing a new solo album and also setting up a school for children in Honduras. Then of course, in the middle, is the cinematically perfect incident in which she accidentally burned her boyfriend’s mansion to the ground. No matter how familiar the structure, though, her many fans will show up in droves to theaters, possibly with tributary black lines painted underneath their left eyes. And they’ll also watch the film every time it airs on VH1. Big Pun (aka Big Punisher) With Americans obsessed by weight loss, evidenced by the popularity of NBC’s The Biggest Loser, this is the perfect time for a biopic about Big Pun, who died as a result of his obesity. In fact, compared to the usual celebrity stories of drug problems and violence, a movie about Big Pun’s life struggle with his weight could be a welcome change as well as carry a necessary message about the issue of obesity in this country. There would have to be some violence, as well, since the Puerto Rican-American rapper was known to abuse — even pistol whip — his wife. But otherwise this biopic would be a relatable and potentially life-changing movie for all of us who’ve dealt with or are dealing with obesity. Originally posted on:SpoutBlog
]]>Wed, 14 Jan 2009 22:00:23 GMTSpoutBlogSpoutBlog on spout.com1/14/2009 5:00:23 PMThis weekend’s box office is almost sure to go to Notorious, Fox Searchlight’s much-anticipated biopic about rapper Biggie Smalls (aka The Notorious B.I.G.; aka Big Poppa; aka Christopher Wallace), who tragically met his end 12 years ago in a controversial shooting. So far, the reviews are mostly favorable, though even a 0% score on RottenTomatoes.com couldn’t keep people away from this film. Fans aren’t likely to learn anything new about the hip-hop star, and they sure won’t gain any fresh revelations regarding the mysterious circumstances behind Biggie’s death, but they’ll definitely enjoy seeing the icon portrayed on the big screen (partly by his own look-alike son, Christopher Jordan Wallace). Like Newsweek critic Allison Samuels, many moviegoers will feel like they’re “attending a 10-year high-school reunion and reliving the good old days.” And with the success of Notorious, both Hollywood and hip-hop fans will probably be begging for more. So, in anticipation of the potential copycats, and in hope for the best, we’ve selected five deceased rappers who are also worthy of the biopic treatment. Tupac Shakur (aka 2Pac; aka Makaveli) Inspiring a poll over at MTV.com asking what other rappers deserve a biopic, Notorious co-stars Derek Luke and Anthony Mackie have suggested their onscreen counterparts — Sean “Puffy” Combs and Tupac Shakur, respectively. While nobody needs to see the former, a film about Tupac is certainly a good idea. And it’s only fair. In fact, a film about his life, which also ended in a tragic shooting, might have to be a straight prequel to Notorious. Mackie would reprise his role, as would anyone else appropriate to the second film, and it would also be directed by George Tillman, Jr. But of course it would be executive produced by Suge Knight rather than Combs. Easy-E In 1995, when Easy-E announced he had AIDS, it was still not commonly understood that heterosexual males were also very susceptible to the epidemic. So, on his deathbed, he wrote a statement directed toward his young fans warning of the non-discriminating reality of AIDS, telling them “it affects everyone.” Then, within days of that message, he died. That sounds like a very powerful and tearjerking ending to a biopic about the former N.W.A. member. The stuff that comes before Easy-E’s contraction of and quick demise from AIDS, such as his enterprising turn from drug dealer to record company founder and his feud with Dr. Dre, might also be interesting. But in movie terms his affect on HIV and AIDS awareness is the key to a sellable pitch of his story. Ol’ Dirty Bastard (aka ODB; aka Dirt McDirt; aka Big Baby Jesus) Some might not think Ol’ Dirty Bastard appropriate for a biopic. For one thing, the Wu-Tang Clan rapper wouldn’t be an easily liked protagonist. For another, his life story might not have been interesting enough, evidenced by Jamie Lowe’s recently published book Digging for Dirt: The Life and Death of ODB, which has been criticized for being more an explorative profile than a biography. And ultimately, of course, it would be very difficult to find someone who could portray him well enough. ODB was a total character, an erratic and profane individual possibly afflicted with mental illness, and it’s improbable that any actor could do him justice. Still, it would be entertaining to see a filmmaker attempt to capture his crazy life. If Oliver Stone can find someone to sufficiently portray Jim Morrison in a biopic, someone should be able to find a relatively suitable person to play ODB. Left Eye The life of TLC’s Left Eye Lopes is ripe for a generic biopic. There are the childhood experiences with abuse and alcoholism, the adulthood experiences with abuse and alcoholism, and the tragic conclusion involving her car accident death, which occurred at a time when she was preparing a new solo album and also setting up a school for children in Honduras. Then of course, in the middle, is the cinematically perfect incident in which she accidentally burned her boyfriend’s mansion to the ground. No matter how familiar the structure, though, her many fans will show up in droves to theaters, possibly with tributary black lines painted underneath their left eyes. And they’ll also watch the film every time it airs on VH1. Big Pun (aka Big Punisher) With Americans obsessed by weight loss, evidenced by the popularity of NBC’s The Biggest Loser, this is the perfect time for a biopic about Big Pun, who died as a result of his obesity. In fact, compared to the usual celebrity stories of drug problems and violence, a movie about Big Pun’s life struggle with his weight could be a welcome change as well as carry a necessary message about the issue of obesity in this country. There would have to be some violence, as well, since the Puerto Rican-American rapper was known to abuse — even pistol whip — his wife. But otherwise this biopic would be a relatable and potentially life-changing movie for all of us who’ve dealt with or are dealing with obesity. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/12/4/37942.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/4/2008 2:01:09 PM
Body: Who would you rather hear sing Etta James’ signature tunes, the real deal or Beyonce Knowles? If you prefer the latter, then you’ll want to see Cadillac Records and even buy the film’s soundtrack, both of which feature Beyonce performing a few of James’ songs, including a nearly spot-on copy of “At Last” (listen to it here). Other actors in the film (and on the soundtrack) who do their own singing while portraying legendary music artists include Jeffrey Wright (as Muddy Waters), Mos Def (Chuck Berry) and Columbus Short (Little Walter). It’s a strange idea to pay tribute to a singer with a biopic or ensemble music historical and then replace that singer’s voice with another, more amateur vocalist. Yet Hollywood does it all the time and, surprisingly, the new performances usually turn out pretty good. Just listen to the following nine actors and actresses who managed to do justice to the artist they were portraying. Gary Busey as Buddy Holly in The Buddy Holly Story (1978) Busey earned an Oscar nomination for this film, and part of the honor was likely meant for his uncanny ability to ape Holly’s singing style precisely for live sequences like the one above. The real Buddy can be heard all over the soundtrack where appropriate, but it makes sense to have raw, live-sounding numbers in actual live performance scenes, so that’s really Busey, Charles Martin Smith and Don Stroud singing and playing the music on set. It’s unfortunate that in the subsequent thirty years there have been only a few films to follow this one’s lead, but it just proves how amazing Busey’s performance truly is. Beverly D’Angelo as Patsy Cline in Coal Miner’s Daughter (1980) The real star, in terms of both acting and singing, was Sissy Spacek, but D’Angelo does an amazing job, too, as Loretta Lynn’s mentor, Patsy Cline. Compared to Spacek’s nine tracks on the film’s soundtrack, D’Angelo has four, including an excellent duet with Spacek on “Back in Baby’s Arms.” Some of them only appear in the film as playing on the radio and so didn’t even need to be performed by the actress. But they’re so perfect, it’s almost like Michael Apted put them in there just to see if anyone noticed a difference. No wonder that when Jessica Lange starred as Cline in the 1985 bio Sweet Dreams she simply lip-synched to the original tunes. How could she have done any better than this? Laurence Fishburne as Ike Turner in What’s Love Got to Do With It (1993) While Angela Bassett lip-synched to the real Tina Turner’s voice, Fishburne made for an inconsistent soundtrack by supplying his own vocals in the part of Ike. Actually, it was necessary, because nearly all the songs in the film are new recordings, and there’s no way anyone was going to even think of bringing the real Ike in for that. Besides, some might see it as justice that his voice was almost entirely left out of the film. Fishburne received an Oscar nomination for the performance. Val Kilmer as Jim Morrison in The Doors (1991) If John Travolta had gotten his way, he’d have starred as Morrison in the film and even toured with The Doors in a series of promotional concerts. If Oliver Stone had gotten his first choice, the part would be played by The Cult’s Ian Astbury, who actually did end up singing for The Doors (well, really, the “The Doors of the 21st Century”) a decade later. And if Kyle MacLachlan had gotten his way, he’d have played Morrison instead of portraying Ray Manzarek in the film. But none of these people could possibly have done better than Val Kilmer, who completely owned the character (if not the true Jim, as Stone’s critics argue). In addition to bearing a slight resemblance to Morrison, the actor also sang enough like the real deal to have allegedly confused Stone and the surviving members of The Doors. So, the songs in the film are the band’s original recordings with Kilmer’s vocals substituted for Morrison’s, a process that allowed for a more accurate representation of the rock legend’s talky and unpredictable stage act. The soundtrack album claims to feature Morrison’s own voice on the songs, but Kilmer’s performance is so good that the credits could be false and we’d never know. Kevin Kline as Cole Porter in De-Lovely (2004) This is an especially exceptional performance because Kline limits his true singing ability to sound more like Porter, whose voice wasn’t too remarkable (the man was a composer, not a performer). The idea may not have made for Kline’s greatest recordings — though the soundtrack sold relatively well thanks to other talents like Elvis Costello and Sheryl Crow — but the portrayal would not have been true enough had Kline belted out his best. In addition to doing his own handicapped singing, in character and on set, the actor also played the piano live during filming. Ewan McGregor as Curt Wild (aka Iggy Pop) in Velvet Goldmine (1998) Ten years before casting six separate actors as Bob Dylan for I’m Not There, Todd Haynes had a single actor portray an amalgam of Iggy Pop, Lou Reed, Mick Ronson and Alice Cooper (with a little Kurt Cobain thrown in for name and appearance?). But Curt Wild is primarily Iggy, and his band, The Wylde Ratttz, are obviously modeled mostly on The Stooges, so McGregor’s crude performance counts for this list. After all, it’s basically only Stooges tunes he sings in the film (with a new tune written by ex-Stooge Ron Asheton and Mudhoney’s Mark Arm), whereas Jonathan Rhys-Meyers, who sings only some of his own songs (Radiohead’s Thom Yorke sings some others) in an obvious portrayal of David Bowie, renamed Brian Slade, performs a mix of Roxy Music and other artists’ tunes (though no Bowie, who wouldn’t allow his songs to be licensed for the film). Joaquin Phoenix as Johnny Cash in Walk the Line (2005) Roger Ebert claimed to have closed his eyes during the film and sincerely believed it to be Cash’s own vocals being lip-synched by Phoenix. While the actor does a great job, though, it’s hard to think he’d allow the same kind of confusion Kilmer’s Morrison brought about. Amazing similarity, sure, but listen to Phoenix and Cash side by side and there’s definitely no mistaking them for the same. However, Phoenix does do a grand job of convincing us that he’s completely Cash, in appearance and voice, while the movie is playing. His costar, Reese Witherspoon, may have won the Oscar, but Phoenix definitely gave the better, more accurate singing performance. Sam Riley as Ian Curtis in Control (2007) Like the live performances in The Buddy Holly Story, those in Control were filmed live on set with the actors all playing their own instruments and Sam Riley doing his own singing. And like the earlier film, it was totally appropriate to capture such a raw-sounding band and vocalist. There were original Joy Division tunes used for non-live scenes and most of the soundtrack album features original recordings, with only one track credited to the cast, who were credited as “Joy Moviesion.” Diana Ross as Billie Holiday in Lady Sings the Blues (1972) If you’re a big fan of Holiday’s voice, there’s really no accepting this substitution. Unlike some of the other artists’ voices recreated for the big screen, Holiday’s isn’t backed up by a lot of music. So, hers and Ross’ voices are barer. Yet Ross nevertheless does a worthy effort in the role and her performances of Holiday’s tunes were popular enough to make the film’s soundtrack reach #1 on the Billboard Top 200. Ross was also nominated for an Oscar. Originally posted on:SpoutBlog
]]>Thu, 04 Dec 2008 19:01:09 GMTSpoutBlogSpoutBlog on spout.com12/4/2008 2:01:09 PMWho would you rather hear sing Etta James’ signature tunes, the real deal or Beyonce Knowles? If you prefer the latter, then you’ll want to see Cadillac Records and even buy the film’s soundtrack, both of which feature Beyonce performing a few of James’ songs, including a nearly spot-on copy of “At Last” (listen to it here). Other actors in the film (and on the soundtrack) who do their own singing while portraying legendary music artists include Jeffrey Wright (as Muddy Waters), Mos Def (Chuck Berry) and Columbus Short (Little Walter). It’s a strange idea to pay tribute to a singer with a biopic or ensemble music historical and then replace that singer’s voice with another, more amateur vocalist. Yet Hollywood does it all the time and, surprisingly, the new performances usually turn out pretty good. Just listen to the following nine actors and actresses who managed to do justice to the artist they were portraying. Gary Busey as Buddy Holly in The Buddy Holly Story (1978) Busey earned an Oscar nomination for this film, and part of the honor was likely meant for his uncanny ability to ape Holly’s singing style precisely for live sequences like the one above. The real Buddy can be heard all over the soundtrack where appropriate, but it makes sense to have raw, live-sounding numbers in actual live performance scenes, so that’s really Busey, Charles Martin Smith and Don Stroud singing and playing the music on set. It’s unfortunate that in the subsequent thirty years there have been only a few films to follow this one’s lead, but it just proves how amazing Busey’s performance truly is. Beverly D’Angelo as Patsy Cline in Coal Miner’s Daughter (1980) The real star, in terms of both acting and singing, was Sissy Spacek, but D’Angelo does an amazing job, too, as Loretta Lynn’s mentor, Patsy Cline. Compared to Spacek’s nine tracks on the film’s soundtrack, D’Angelo has four, including an excellent duet with Spacek on “Back in Baby’s Arms.” Some of them only appear in the film as playing on the radio and so didn’t even need to be performed by the actress. But they’re so perfect, it’s almost like Michael Apted put them in there just to see if anyone noticed a difference. No wonder that when Jessica Lange starred as Cline in the 1985 bio Sweet Dreams she simply lip-synched to the original tunes. How could she have done any better than this? Laurence Fishburne as Ike Turner in What’s Love Got to Do With It (1993) While Angela Bassett lip-synched to the real Tina Turner’s voice, Fishburne made for an inconsistent soundtrack by supplying his own vocals in the part of Ike. Actually, it was necessary, because nearly all the songs in the film are new recordings, and there’s no way anyone was going to even think of bringing the real Ike in for that. Besides, some might see it as justice that his voice was almost entirely left out of the film. Fishburne received an Oscar nomination for the performance. Val Kilmer as Jim Morrison in The Doors (1991) If John Travolta had gotten his way, he’d have starred as Morrison in the film and even toured with The Doors in a series of promotional concerts. If Oliver Stone had gotten his first choice, the part would be played by The Cult’s Ian Astbury, who actually did end up singing for The Doors (well, really, the “The Doors of the 21st Century”) a decade later. And if Kyle MacLachlan had gotten his way, he’d have played Morrison instead of portraying Ray Manzarek in the film. But none of these people could possibly have done better than Val Kilmer, who completely owned the character (if not the true Jim, as Stone’s critics argue). In addition to bearing a slight resemblance to Morrison, the actor also sang enough like the real deal to have allegedly confused Stone and the surviving members of The Doors. So, the songs in the film are the band’s original recordings with Kilmer’s vocals substituted for Morrison’s, a process that allowed for a more accurate representation of the rock legend’s talky and unpredictable stage act. The soundtrack album claims to feature Morrison’s own voice on the songs, but Kilmer’s performance is so good that the credits could be false and we’d never know. Kevin Kline as Cole Porter in De-Lovely (2004) This is an especially exceptional performance because Kline limits his true singing ability to sound more like Porter, whose voice wasn’t too remarkable (the man was a composer, not a performer). The idea may not have made for Kline’s greatest recordings — though the soundtrack sold relatively well thanks to other talents like Elvis Costello and Sheryl Crow — but the portrayal would not have been true enough had Kline belted out his best. In addition to doing his own handicapped singing, in character and on set, the actor also played the piano live during filming. Ewan McGregor as Curt Wild (aka Iggy Pop) in Velvet Goldmine (1998) Ten years before casting six separate actors as Bob Dylan for I’m Not There, Todd Haynes had a single actor portray an amalgam of Iggy Pop, Lou Reed, Mick Ronson and Alice Cooper (with a little Kurt Cobain thrown in for name and appearance?). But Curt Wild is primarily Iggy, and his band, The Wylde Ratttz, are obviously modeled mostly on The Stooges, so McGregor’s crude performance counts for this list. After all, it’s basically only Stooges tunes he sings in the film (with a new tune written by ex-Stooge Ron Asheton and Mudhoney’s Mark Arm), whereas Jonathan Rhys-Meyers, who sings only some of his own songs (Radiohead’s Thom Yorke sings some others) in an obvious portrayal of David Bowie, renamed Brian Slade, performs a mix of Roxy Music and other artists’ tunes (though no Bowie, who wouldn’t allow his songs to be licensed for the film). Joaquin Phoenix as Johnny Cash in Walk the Line (2005) Roger Ebert claimed to have closed his eyes during the film and sincerely believed it to be Cash’s own vocals being lip-synched by Phoenix. While the actor does a great job, though, it’s hard to think he’d allow the same kind of confusion Kilmer’s Morrison brought about. Amazing similarity, sure, but listen to Phoenix and Cash side by side and there’s definitely no mistaking them for the same. However, Phoenix does do a grand job of convincing us that he’s completely Cash, in appearance and voice, while the movie is playing. His costar, Reese Witherspoon, may have won the Oscar, but Phoenix definitely gave the better, more accurate singing performance. Sam Riley as Ian Curtis in Control (2007) Like the live performances in The Buddy Holly Story, those in Control were filmed live on set with the actors all playing their own instruments and Sam Riley doing his own singing. And like the earlier film, it was totally appropriate to capture such a raw-sounding band and vocalist. There were original Joy Division tunes used for non-live scenes and most of the soundtrack album features original recordings, with only one track credited to the cast, who were credited as “Joy Moviesion.” Diana Ross as Billie Holiday in Lady Sings the Blues (1972) If you’re a big fan of Holiday’s voice, there’s really no accepting this substitution. Unlike some of the other artists’ voices recreated for the big screen, Holiday’s isn’t backed up by a lot of music. So, hers and Ross’ voices are barer. Yet Ross nevertheless does a worthy effort in the role and her performances of Holiday’s tunes were popular enough to make the film’s soundtrack reach #1 on the Billboard Top 200. Ross was also nominated for an Oscar. Originally posted on:SpoutBlog http://www.spout.com/blogs/edwa8698/archive/2008/10/9/36129.aspx Post By: edwa8698
Post To: edwa8698 Blog
Post Date: 10/9/2008 10:53:58 PM
Body: Oliver Stone's work has always been controversial. So it seems only fitting that he would be the one to make a film about one of the most controversial rock bands of all time The Doors. The film chronicles the life of Jim Morrison more than it actually focuses on the band itself. Val Kilmer portrays Jim with an almost eire accuracy. On the DVD features Stone shows some footage of Jim and the intercuts footage of Kilmer in the same moments let me tell you the footage is uncanny. I think this film has a lot of heart and will appeal to fans of the group or people that like Stone's work. I personally am a big fan of the band and think that their music and Jim's lyrics are some of the most influential in history. The film is trippy and brings up some disturbing themes but I think it is well worth a watch.
]]>Fri, 10 Oct 2008 02:53:58 GMTedwa8698edwa8698 Blog10/9/2008 10:53:58 PMOliver Stone's work has always been controversial. So it seems only fitting that he would be the one to make a film about one of the most controversial rock bands of all time The Doors. The film chronicles the life of Jim Morrison more than it actually focuses on the band itself. Val Kilmer portrays Jim with an almost eire accuracy. On the DVD features Stone shows some footage of Jim and the intercuts footage of Kilmer in the same moments let me tell you the footage is uncanny. I think this film has a lot of heart and will appeal to fans of the group or people that like Stone's work. I personally am a big fan of the band and think that their music and Jim's lyrics are some of the most influential in history. The film is trippy and brings up some disturbing themes but I think it is well worth a watch. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_29_Gimme_Some_Drugs/625/35755/1/ShowPost.aspx Post By: rjsprague
Post To: Weekly Theme
Post Date: 10/1/2008 9:31:09 AM
Body: How dare you all forget to mention Half Baked. I'm also not sure if I saw Blow in there anywhere. Another film that I recall was the story of The Doors.
]]>Wed, 01 Oct 2008 13:31:09 GMTrjspragueWeekly Theme10/1/2008 9:31:09 AMHow dare you all forget to mention Half Baked. I'm also not sure if I saw Blow in there anywhere. Another film that I recall was the story of The Doors. http://www.spout.com/blogs/spoutblog/archive/2008/9/22/35408.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/22/2008 9:01:18 PM
Body: Happy autumn! Today marked the fall equinox for the Northern hemisphere, and while the season can be a depressing one for mainstream moviegoers (at least until Thanksgiving ushers in the holiday blockbusters and Oscar-bait releases), it is otherwise a wonderful time of the year. Having grown up in New England, I’ve always had a great appreciation for the changing leaves, the brisk weather, the pumpkin and apple picking and the foodie holidays (as a rather chunky kid, I really only liked Halloween for the candy and Thanksgiving for the stuffing of my face). I even looked forward to going back to school every September. But autumn can be a great season for cinephiles, too, despite the significant lack of worthwhile theatrical releases. For one thing, the colder weather, particularly the colder nights, keeps us indoors more often for DVD watching. For another thing, the season has lent itself nominally and spirtually to some great films by the likes of Ozu, Bergman and Rohmer, among others. Personally, I think movies set in the fall tend to look the most beautiful, although I recognize that part of my aesthetic appreciation comes with my general love for autumnal landscapes and activities. To get myself in the mood, and share the spirit with fellow fans of the fall, I’ve found ten scenes that will help us to welcome the season: 1. Opening sequence  - from Monster House (2006) I shouldn’t have to explain why this is on here, but I guess there are a ton of you who unfortunately skipped this animated film when it was out in theaters (when you could have seen it properly in 3-D). Hopefully, the beginning will entice you to watch the rest, although I admit the rest of the film isn’t quite as good as its opening. The falling leaf may remind you of the beginning of Forrest Gump, which could have been intentional since Robert Zemeckis was a producer on this film, but I much prefer this sequence, mostly because director Gil Kenan manages to make me believe it was shot by an actual camera and not just set up to look that way with a computer. 2. Cathy and Raymond walk in the woods - from Far From Heaven (2002) The opening shot from Monster House initially reminded me of the opening shot from this Todd Haynes film (yes, I have since become aware that it goes back to Douglas Sirk’s All That Heaven Allows opening). But I can’t find that sequence online, plus it would possibly be redundant to include it, so here’s another scene displaying the gorgeous fall colors as shot by cinematographer Edward Lachman. Perfectly evoking Sirk’s films, there isn’t another modern film that better recreates the Connecticut autumn foliage as well as I know it. 3. Opening sequence - from Written on the Wind (1956) More blowing leaves. With much less grace than the one from Monster House, of course. But as much as I love the falling leaves that come with this time of year, I do get frustrated with all the dry, brown ones that slip through your door later on in the season. In any event, I had to include something from Sirk, despite an apparent lack of clips from his films available on YouTube. 4. Moon vs. Flying Snow - from Hero (2002) If you want evidence that YouTube isn’t the proper format with which to watch film clips, check out the above sequence from Zhang Yimou’s historical spectacle. Still, you should be able to tell that those colorful blurs are leaves. If there’s anything I’d like to do more than jumping into a pile of leaves right now, it’s flying through a flurry of blowing leaves, with or without a blade. 5. Paul Rudd scares a little kid - from Halloween: The Curse of Michael Myers (1995) Enough blowing leaves. Let’s move on to the first big holiday of the season: Halloween. But to make things interesting, I’m not including any favorite scenes from It’s the Great Pumpkin, Charlie Brown or even from the original Halloween. Save those for another month or so. Instead, take a look some scenes from one of the Halloween movies you probably haven’t seen, or at least don’t like as much. Why? Because Paul Rudd is in it. I don’t know about you, but I find no better way to celebrate the beginning of autumn than to ritually put my copy of Wet Hot American Summer back on the shelf and then rent Halloween 6 and let Rudd link the seasons together. He’s not as funny here as in WHAS, but he still unintentionally has me laughing in the scene where he explains the origin of Michael Myers’ powers and in an earlier bit where he inadvertently makes a kid drop his pumpkin (fast forward the above clip to 8:01). 6. Cary Grant gets horny in a graveyard - from Arsenic and Old Lace (1944) Here’s another great Halloween movie that isn’t too Halloweeny, so it’ll hopefully get you more in the mood for the fall than for trick or treating. Though it’s clearly a set, I’ll always love the autumnal outdoor scenes from this adaptation of the high school drama staple. In particular, I like the bit above (fast forward to 6:00), where Cary Grant lecherously chases his new bride around a tree. I so wish autumn in Brooklyn still looked so quaint. And I so wish I could have married Priscilla Lane. 7. Jim Morrison ruins another Thanksgiving - from The Doors (1991) And now we move on to the other big holiday with a look at my favorite Thanksgiving scene in all of cinema. Maybe it’s because I’ve had many a dysfunctional turkey day myself, and watching Pam throw the sweet potatoes and Jim stomp on the duck, let alone the other awkward moments involving sex partners and murder attempts, always makes me realize that I could have experienced worse. By the way, The Doors are also a good band to think of in terms of the transition from summer to autumn because of their songs “Summer’s Almost Gone” and “Indian Summer.” 8. Sam Raimi evokes Buster Keaton - from Indian Summer (1993) Speaking of Indian Summer, that wonderfully warm spell that comes later in the season following the first frost and before it really starts to get cold, here is one of its many cinematic namesakes. It may not even be the best of the films with this title, but some of the visuals are good for celebrating the seasonal cusp. Also, Sam Raimi is hilariously memorable as the camp maintenance man. In one great scene in the above montage, he reminds me of Buster Keaton as he attempts to pull fallen luggage out of the lake. 9. India-shaped harvest - from Mother India (1957) No list of autumn-themed movies would be complete without something related to a harvest, though I’m certain that I’m veering off season a bit by using Mother India as my choice of such a film. I’m pretty sure the harvesting of wheat in India occurs in the Spring. Regardless, it’s the film that first pops into mind when I think of harvest, likely because of the incredible India-shaped crop set piece seen above. (Click on the image to get the un-embeddable clip). 10. “Skunk” invades Oktoberfest - from Strange Brew (1983) Another great thing that happens in autumn, specifically the beginning of autumn, is Oktoberfest. And sure, I probably could have included a clip from Broken Lizard’s Beerfest, which actually takes place in Munich. However, nobody can deny that Strange Brew is a funnier film, and there’s no better Oktoberfest-set scene than the one in which Hosehead the dog flies into a Canadian celebration, is mistaken for a skunk and successfully saves hundreds of people from drinking contaminated beer. Hosehead is a true hero. Yet for some reason nobody has honored the beer-loving canine by putting a clip of the scene up on YouTube. So, we’ll have to make due with a montage from the film set to a song about beer, which has a few minimal flashes of the Oktoberfest part. Enjoy, eh? Originally posted on:SpoutBlog
]]>Tue, 23 Sep 2008 01:01:18 GMTSpoutBlogSpoutBlog on spout.com9/22/2008 9:01:18 PMHappy autumn! Today marked the fall equinox for the Northern hemisphere, and while the season can be a depressing one for mainstream moviegoers (at least until Thanksgiving ushers in the holiday blockbusters and Oscar-bait releases), it is otherwise a wonderful time of the year. Having grown up in New England, I’ve always had a great appreciation for the changing leaves, the brisk weather, the pumpkin and apple picking and the foodie holidays (as a rather chunky kid, I really only liked Halloween for the candy and Thanksgiving for the stuffing of my face). I even looked forward to going back to school every September. But autumn can be a great season for cinephiles, too, despite the significant lack of worthwhile theatrical releases. For one thing, the colder weather, particularly the colder nights, keeps us indoors more often for DVD watching. For another thing, the season has lent itself nominally and spirtually to some great films by the likes of Ozu, Bergman and Rohmer, among others. Personally, I think movies set in the fall tend to look the most beautiful, although I recognize that part of my aesthetic appreciation comes with my general love for autumnal landscapes and activities. To get myself in the mood, and share the spirit with fellow fans of the fall, I’ve found ten scenes that will help us to welcome the season: 1. Opening sequence  - from Monster House (2006) I shouldn’t have to explain why this is on here, but I guess there are a ton of you who unfortunately skipped this animated film when it was out in theaters (when you could have seen it properly in 3-D). Hopefully, the beginning will entice you to watch the rest, although I admit the rest of the film isn’t quite as good as its opening. The falling leaf may remind you of the beginning of Forrest Gump, which could have been intentional since Robert Zemeckis was a producer on this film, but I much prefer this sequence, mostly because director Gil Kenan manages to make me believe it was shot by an actual camera and not just set up to look that way with a computer. 2. Cathy and Raymond walk in the woods - from Far From Heaven (2002) The opening shot from Monster House initially reminded me of the opening shot from this Todd Haynes film (yes, I have since become aware that it goes back to Douglas Sirk’s All That Heaven Allows opening). But I can’t find that sequence online, plus it would possibly be redundant to include it, so here’s another scene displaying the gorgeous fall colors as shot by cinematographer Edward Lachman. Perfectly evoking Sirk’s films, there isn’t another modern film that better recreates the Connecticut autumn foliage as well as I know it. 3. Opening sequence - from Written on the Wind (1956) More blowing leaves. With much less grace than the one from Monster House, of course. But as much as I love the falling leaves that come with this time of year, I do get frustrated with all the dry, brown ones that slip through your door later on in the season. In any event, I had to include something from Sirk, despite an apparent lack of clips from his films available on YouTube. 4. Moon vs. Flying Snow - from Hero (2002) If you want evidence that YouTube isn’t the proper format with which to watch film clips, check out the above sequence from Zhang Yimou’s historical spectacle. Still, you should be able to tell that those colorful blurs are leaves. If there’s anything I’d like to do more than jumping into a pile of leaves right now, it’s flying through a flurry of blowing leaves, with or without a blade. 5. Paul Rudd scares a little kid - from Halloween: The Curse of Michael Myers (1995) Enough blowing leaves. Let’s move on to the first big holiday of the season: Halloween. But to make things interesting, I’m not including any favorite scenes from It’s the Great Pumpkin, Charlie Brown or even from the original Halloween. Save those for another month or so. Instead, take a look some scenes from one of the Halloween movies you probably haven’t seen, or at least don’t like as much. Why? Because Paul Rudd is in it. I don’t know about you, but I find no better way to celebrate the beginning of autumn than to ritually put my copy of Wet Hot American Summer back on the shelf and then rent Halloween 6 and let Rudd link the seasons together. He’s not as funny here as in WHAS, but he still unintentionally has me laughing in the scene where he explains the origin of Michael Myers’ powers and in an earlier bit where he inadvertently makes a kid drop his pumpkin (fast forward the above clip to 8:01). 6. Cary Grant gets horny in a graveyard - from Arsenic and Old Lace (1944) Here’s another great Halloween movie that isn’t too Halloweeny, so it’ll hopefully get you more in the mood for the fall than for trick or treating. Though it’s clearly a set, I’ll always love the autumnal outdoor scenes from this adaptation of the high school drama staple. In particular, I like the bit above (fast forward to 6:00), where Cary Grant lecherously chases his new bride around a tree. I so wish autumn in Brooklyn still looked so quaint. And I so wish I could have married Priscilla Lane. 7. Jim Morrison ruins another Thanksgiving - from The Doors (1991) And now we move on to the other big holiday with a look at my favorite Thanksgiving scene in all of cinema. Maybe it’s because I’ve had many a dysfunctional turkey day myself, and watching Pam throw the sweet potatoes and Jim stomp on the duck, let alone the other awkward moments involving sex partners and murder attempts, always makes me realize that I could have experienced worse. By the way, The Doors are also a good band to think of in terms of the transition from summer to autumn because of their songs “Summer’s Almost Gone” and “Indian Summer.” 8. Sam Raimi evokes Buster Keaton - from Indian Summer (1993) Speaking of Indian Summer, that wonderfully warm spell that comes later in the season following the first frost and before it really starts to get cold, here is one of its many cinematic namesakes. It may not even be the best of the films with this title, but some of the visuals are good for celebrating the seasonal cusp. Also, Sam Raimi is hilariously memorable as the camp maintenance man. In one great scene in the above montage, he reminds me of Buster Keaton as he attempts to pull fallen luggage out of the lake. 9. India-shaped harvest - from Mother India (1957) No list of autumn-themed movies would be complete without something related to a harvest, though I’m certain that I’m veering off season a bit by using Mother India as my choice of such a film. I’m pretty sure the harvesting of wheat in India occurs in the Spring. Regardless, it’s the film that first pops into mind when I think of harvest, likely because of the incredible India-shaped crop set piece seen above. (Click on the image to get the un-embeddable clip). 10. “Skunk” invades Oktoberfest - from Strange Brew (1983) Another great thing that happens in autumn, specifically the beginning of autumn, is Oktoberfest. And sure, I probably could have included a clip from Broken Lizard’s Beerfest, which actually takes place in Munich. However, nobody can deny that Strange Brew is a funnier film, and there’s no better Oktoberfest-set scene than the one in which Hosehead the dog flies into a Canadian celebration, is mistaken for a skunk and successfully saves hundreds of people from drinking contaminated beer. Hosehead is a true hero. Yet for some reason nobody has honored the beer-loving canine by putting a clip of the scene up on YouTube. So, we’ll have to make due with a montage from the film set to a song about beer, which has a few minimal flashes of the Oktoberfest part. Enjoy, eh? Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/29/34531.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/29/2008 2:01:02 PM
Body: I’m not expecting to learn anything from Oliver Stone’s Bush biopic, W., but it’s possible that I will. After watching this clip depicting the first encounter of the future President (played by Josh Brolin) and the future First Lady (Elizabeth Banks), I’ve already learned something I didn’t previously know: that Laura was a Democrat, one who even campaigned for ‘68 Presidential candidate Eugene McCarthy, before meeting the conservative, Barry Goldwater-reading man of her dreams at a backyard barbecue. Surprisingly, Stone’s portrayal of how George and Laura met is accurate. At least, it is if Wikipedia is to be believed. And I guess that only guarantees me that the setting is correct. The dialogue is probably only based on speculation. Not that I mind. I still love Stone’s The Doors and have no problem with the romantic fabrication of how Jim Morrison and Pam Courson meet in the film, and as a Doors fan, I know how ridiculously false it is. [via Cinematical] Originally posted on:SpoutBlog
]]>Fri, 29 Aug 2008 18:01:02 GMTSpoutBlogSpoutBlog on spout.com8/29/2008 2:01:02 PM I’m not expecting to learn anything from Oliver Stone’s Bush biopic, W., but it’s possible that I will. After watching this clip depicting the first encounter of the future President (played by Josh Brolin) and the future First Lady (Elizabeth Banks), I’ve already learned something I didn’t previously know: that Laura was a Democrat, one who even campaigned for ‘68 Presidential candidate Eugene McCarthy, before meeting the conservative, Barry Goldwater-reading man of her dreams at a backyard barbecue. Surprisingly, Stone’s portrayal of how George and Laura met is accurate. At least, it is if Wikipedia is to be believed. And I guess that only guarantees me that the setting is correct. The dialogue is probably only based on speculation. Not that I mind. I still love Stone’s The Doors and have no problem with the romantic fabrication of how Jim Morrison and Pam Courson meet in the film, and as a Doors fan, I know how ridiculously false it is. [via Cinematical] Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/5/28/30094.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/28/2008 3:01:02 PM
Body: Ten years ago, I attended a book signing for Ray Manzarek’s memoir, Light My Fire: My Life with the Doors, and I asked the author/keyboardist why he doesn’t just make another movie about The Doors. Manzarek had spent most of the event complaining about Oliver Stone’s 1991 film, and he did graduate from film school, so I figured he’d at least thought about the idea. But he responded by saying he had other films he wanted to make, from original scripts he’d written. I’m pretty sure one of the scripts he mentioned then became his 2000 film Love Her Madly, which has a nice exploitive title. And now according to Billboard, he’s got four more scripts, including one based on either the song or album L.A. Woman (the best driving album of all time, IMHO) and another that sounds suspiciously like the scene from Stone’s film in which the band and friends do drugs in the desert. But apparently he’s still not up to the challenge of writing something that will go against Stone and Randall Jahnson’s script for The Doors. Fortunately, he’s doing the next best thing — or, maybe really its actually the better thing — and consulting on a comprehensive documentary that will chronicle the band’s whole career. It’s unclear how involved he is with the project, but he told Billboard that he recently saw a cut of it and that it’s still six months away from being releasable. He also mentioned that it will be filled with footage we’ve never seen before. Most importantly, though, he stated that it’s “the anti-Oliver Stone. This will be the true story of the Doors.” From what I remember, the scene from Stone’s movie that’s most objectionable to Manzarek is the Andy Warhol party sequence, in which he, Robbie Krieger and John Densmore are portrayed as abandoning Jim. But whether or not it happened that way, the sequence (watch it above) is one of many great music video montages disguised as legitimate narrative in the film. And it should be appreciated as nothing more. Still, regardless of the fact that Manzarek should probably just let it go about Stone’s movie after 17 years (especially since he’s supposedly at least happy with Kyle Maclachlan’s portrayal of himself), and even ignoring the fact that this is all just his latest way of milking his old band for all its worth (not that I don’t encourage it with my buying his book and attending the “Doors of the 21st Century” concert), this new film sounds like a great idea. Aside from hopefully allowing Manzarek to vent some more, it comes at a time when rock docs are doing pretty well (of course, they have to when they’re either in 3D or directed by Scorsese). Plus, it might appease any fans who, like Manzarek, aren’t happy with The Doors. But are there actually a lot of people who like The Doors’ music who can’t enjoy more than two hours of scenes set to The Doors’ songs? I’m probably one of many Doors fans that will always love Stone’s biopic, despite its inaccuracies (or whatever else the problem). And I’m one of the many who will really appreciate this new nonfiction film, despite its probable lack of dramatization, sensationalism and Val Kilmer. Hooray for having different ways of cinematically telling (roughly) the same story. Originally posted on:SpoutBlog
]]>Wed, 28 May 2008 19:01:02 GMTSpoutBlogSpoutBlog on spout.com5/28/2008 3:01:02 PM Ten years ago, I attended a book signing for Ray Manzarek’s memoir, Light My Fire: My Life with the Doors, and I asked the author/keyboardist why he doesn’t just make another movie about The Doors. Manzarek had spent most of the event complaining about Oliver Stone’s 1991 film, and he did graduate from film school, so I figured he’d at least thought about the idea. But he responded by saying he had other films he wanted to make, from original scripts he’d written. I’m pretty sure one of the scripts he mentioned then became his 2000 film Love Her Madly, which has a nice exploitive title. And now according to Billboard, he’s got four more scripts, including one based on either the song or album L.A. Woman (the best driving album of all time, IMHO) and another that sounds suspiciously like the scene from Stone’s film in which the band and friends do drugs in the desert. But apparently he’s still not up to the challenge of writing something that will go against Stone and Randall Jahnson’s script for The Doors. Fortunately, he’s doing the next best thing — or, maybe really its actually the better thing — and consulting on a comprehensive documentary that will chronicle the band’s whole career. It’s unclear how involved he is with the project, but he told Billboard that he recently saw a cut of it and that it’s still six months away from being releasable. He also mentioned that it will be filled with footage we’ve never seen before. Most importantly, though, he stated that it’s “the anti-Oliver Stone. This will be the true story of the Doors.” From what I remember, the scene from Stone’s movie that’s most objectionable to Manzarek is the Andy Warhol party sequence, in which he, Robbie Krieger and John Densmore are portrayed as abandoning Jim. But whether or not it happened that way, the sequence (watch it above) is one of many great music video montages disguised as legitimate narrative in the film. And it should be appreciated as nothing more. Still, regardless of the fact that Manzarek should probably just let it go about Stone’s movie after 17 years (especially since he’s supposedly at least happy with Kyle Maclachlan’s portrayal of himself), and even ignoring the fact that this is all just his latest way of milking his old band for all its worth (not that I don’t encourage it with my buying his book and attending the “Doors of the 21st Century” concert), this new film sounds like a great idea. Aside from hopefully allowing Manzarek to vent some more, it comes at a time when rock docs are doing pretty well (of course, they have to when they’re either in 3D or directed by Scorsese). Plus, it might appease any fans who, like Manzarek, aren’t happy with The Doors. But are there actually a lot of people who like The Doors’ music who can’t enjoy more than two hours of scenes set to The Doors’ songs? I’m probably one of many Doors fans that will always love Stone’s biopic, despite its inaccuracies (or whatever else the problem). And I’m one of the many who will really appreciate this new nonfiction film, despite its probable lack of dramatization, sensationalism and Val Kilmer. Hooray for having different ways of cinematically telling (roughly) the same story. Originally posted on:SpoutBlog http://www.spout.com/blogs/skacorezz/archive/2007/8/10/17815.aspx Post By: skacorezz
Post To: skacorezz Blog
Post Date: 8/10/2007 9:11:13 PM
Body: i love the doors and i love this movie
]]>Sat, 11 Aug 2007 01:11:13 GMTskacorezzskacorezz Blog8/10/2007 9:11:13 PMi love the doors and i love this movie http://www.spout.com/members/0/tags/music/MemberTagFilms.aspxmusic
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