The story of the famous and influential 1960s rock band The Doors and its lead singer and composer, Jim Morrison, from his days as a UCLA film student in Los Angeles, to his untimely death in Paris, France at age 27 in 1971.
A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
Oliver Stone's homage to 1960s rock group The Doors also doubles as a biography of the group's late singer, the "Electric Poet" Jim Morrison. The movie follows Morrison from his days as a film student in Los Angeles to his death in Paris, France at age 27 in 1971. The movie features a tour-de-force performance by Val Kilmer, who not only looks like Jim Morrison's long-lost twin brother, but also sounds so much like him that he did much of his own singing. It has been written that even the surviving Doors had trouble distinguishing Kilmer's vocals from Morrison's originals. Written by
Denise P. Meyer <firstname.lastname@example.org>
The cave scene, when Jim wanders out in the New Mexico desert, was shot at the Mitchell Caverns in the East Mojave Preserve in California. According to the tour guide there, Oliver Stone and the art dept. painted Indian petroglyphs at the site that wouldn't wash off. The state fined Stone and banned future film shoots at the caves. See more »
Morrison says "Well we're a sullen group, Ed" without moving his lips. This was done deliberately to allow the audience into Jim Morrison's thoughts for just a moment. He could not say "Well, we're a sullen group, Ed!" directly to Ed Sullivan without being thrown out immediately. Instead, we are allowed to hear him think it, which leads us to the mischief Morrison got up to live on air.
Another example of deliberate audio/visual mismatch is when Jim is approached by a groupie at Andy Warhol's party. Replying to "Hey Jim, remember San Francisco?", Jim says "Uh no, not really", without moving his lips. We are allowed to hear him think in his drug addled state. See more »
[Imitating Bob Dylan's singing voice]
Johnny's in the basement mixing up the medicine, I'm on the pavement thinking about the government.
See more »
Written by Morris Levy / Henry Glover
Performed by The Rivieras
Published by Windswept Pacific Entertainment Co. d/b/a Longitude Music Co. (BMI)
Courtesy of Epic Records
by Arrangement with Original Sound Entertainment See more »
"Nothing to touch the earth, not to see the sun, nothing left to do but run, run, run, let's run."
This is just a sampling of the lyrics that singer/writer Jim Morrison contributed to his group The Doors, and just this, as part of his epic piece "The Celebration of the Lizard" shows his skill as a master of the written word. He is shown in Oliver Stone's The Doors as a shy, though often obnoxious and crude, persona who self describes himself in one scene: "I think of myself as a sensitive, intelligent human being, but with the soul of a clown that forces me to blow it at the most crucial of moments." He may have blown it in the end, but it makes for a fascinating story.
As being a Doors fan, the music and words are the best character of the movie- the songs represent feelings and emotions, desires and hatreds, and other facets of life in the late 60's, are indispensable gems of rock and blues. While the Doors recorded only six albums together (not counting American Prayer, Morrison's awesome feat of an album) each one is still transfixed into the minds of people all over the world. It's thirty-two years since the king died, but in another thirty-two he will still be remembered. And that is a fact that Stone plays with like Travis Bickle in front of the mirror with his guns in Taxi Driver. He reveals only Morrison's known persona, and not the quiet moments. The concert recreations are grand, but there isn't more of the sweet Jim (one glimpse of such a Jim is seen at a birthday party when he gives out gifts as "Chief Mojo Risin)
What is shown is splendid enough for his abilities- he paints a vivid picture of Los Angeles 1965 onward, with Val Kilmer in the second best acting job of 1991 (deserved of an Oscar nomination), and puts Jim in the middle. He is a man who is fascinated with death, with man's wills to power, and how life gets painful without the chemicals top open the mind. Kilmer gets so much into your head in this film that by the end you'll love him, hate him, or feel wonder about him. I felt wonder about him, wonder why he looked to heroes who gave him such ideas about the love of death, wonder why he felt the need to take it to the limits.
But his desires are Stone's as well, and while this isn't a perfect film, it's one that isn't easily forgotten. A+
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