Bill Graham Movies

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, Rovi

Set in Washington D.C. during the Vietnam War era, Gardens of Stone concentrates on the trials and tribulations of the Arlington National Cemetery home guard. James Caan plays career soldier Sgt. Clell Hazard, who has come to the sad conclusion that Vietnam is unwinnable and that America should withdraw as soon as possible. His attitude is contrasted to that held by Private Jackie Willow (D.B. Sweeney), who wants nothing more in life than to go into battle for his country. Though Hazard cannot officially dissuade Willow from this yearning, he pulls a few surreptitious strings to change the lad's mind, including encouraging a renewed romance between Jackie and his former girlfriend Rachel (Mary Stuart Masterton). After so many big-budgeters, Coppola determined that Gardens would be a deliberately "small" picture, concentrating on personalities rather than opulence; the director's father, Carmine Coppola, supplied the music, while Peter Masterton and Carlyn Glynn, the real-life parents of Mary Stuart Masterton, play Mary's on-screen dad and mom. Gardens of Stone was adapted by Ronald Bass from the novel by Nicholas Proffitt. ~ Hal Erickson, Rovi

Combining electric song and dance performances with drama (both on and off screen), Francis Ford Coppola's The Cotton Club (1984) looks back to the 1920s-1930s peak of the legendary Harlem nightclub where only blacks performed and only whites could sit in the audience. Mixing historical figures with characters loosely based on actual people, Coppola and co-writers William Kennedy and The Godfather's Mario Puzo create a panorama of love, crime, and entertainment centered on the Club. Among them are cornet player Dixie Dwyer (Richard Gere, playing his own solos), who escapes psycho gangster "benefactor" Dutch Schultz (James Remar) for a George Raft-type Hollywood career as a gangster film star; Schultz's nubile mistress Vera Cicero (Diane Lane), who loves Dixie against her mercenary instincts; Cotton Club Mob owner Owney Madden (Bob Hoskins) and close associate Frenchy Demarge (Fred Gwynne); Vincent (Nicolas Cage), Dixie's no-good Mad Dog Coll-esque brother; Club tap star Sandman Williams (Gregory Hines), who woos ambitious light-skinned Club singer Lila Rose Oliver (Lonette McKee); and cameos by Charles "Honi" Coles and Cab Calloway impersonator Larry Marshall. Complementing the period story, Coppola evokes the style of '30s gangster movies and musicals through an array of old-fashioned devices like montages of headlines, songs and shoot-outs. Conceived by producer Robert Evans as his crowning achievement and directorial debut, Evans had to hand over the troubled production to Coppola, but the budget spiraled out of control as the script was repeatedly re-written throughout the chaotic shoot. By the time it was released, The Cotton Club's epic production story of power struggles, financial bloat, and even a murder overshadowed the "reunion" of The Godfather's creative team. Neither a Heaven's Gate-sized failure nor a wallet-saving hit like Coppola's Apocalypse Now, The Cotton Club got some favorable critical notices (although it drew fire for subordinating the African American stories). It did not, however, find a large enough audience to justify its expense and controversy, becoming another mark against 1970s "auteur" cinema in increasingly blockbuster-driven 1980s Hollywood. ~ Lucia Bozzola, Rovi

Shot December 31, 1978, The Grateful Dead: The Closing of Winterland is a concert film featuring the seminal jam band performing a six-plus hour show to mark the last night of San Francisco's legendary Winterland Arena. In front of an audience that included such celebrity guests as Dan Aykroyd, John Cippolina and Ken Kesey, the Grateful Dead performed 27 songs, including "Fire on the Mountain," "Thank You, Uncle Bobo," "From the Heart of Me," "Playing in the Band," "Dark Star," "Good Lovin'," and "The Greatest Rock 'n' Roll Band There Ever Was." ~ Matthew Tobey, Rovi

The Beach Party Gang meets a coterie of muscle-men who try to take over their spot on the beach in Muscle Beach Party. Surfing sensations Frankie (Frankie Avalon) and Dee Dee (Annette Funicello) have their security threatened when Flex Martian (Rock Stevens) and a collection of well-oiled weight-lifters invade their turf. While tensions heat up on the beach, wealthy contessa Julie (Luciana Paluzzi) arranges for her business manager S.Z. Matts (Buddy Hackett) to entice Flex into becoming the latest in her long line of boyfriends. Julie's feelings change when she meets Frankie, who, honored by Julie's amorous attentions, returns her affections, causing a rift not only between Dee Dee and himself, but a further collapse in relations between the surfers and the body-builders, which is assuaged only by the music of Dick Dale and the Del Tones and Little Stevie Wonder. ~ Paul Brenner, Rovi