After spending roughly half a million dollars of his own money, Coppola has created a 'nobler, fuller, and of course more righteous film.' Read melvillmatic's full review:
was already good, when considered scene by scene, rather than as a full movie. This is a gorgeous, densely rendered period picture, full of virtuosic montages, which purposefully invoke '30s movies, that catapult the us through time and history, keeping us abreast of the broader forces shaping the characters' lives, such as the Great Depression.
I wouldn’t say the film is so much of a showcase for the acting talent of its major stars as it is a vehicle for the voluptuous talents of its side characters: hoodlums played by the likes of Hoskins, Remar, Gwynne, and on the black side of things,, all of them more than just flavor—all of them vibrant enough in their own right to make you wonder if the film might have been better off reducing the showbiz shenanigans and sticking to its boyish but deadly gangland story, in which the Cotton Club...
Then again—so long as we have its wonderful club performances to look forward to, the movie's failures prove easy to forgive. Coppola must have known they were the biggest highlight of the movie; the way they take over, knocking the bigger narrative to the side, is quite lovely. Nevermind the among of time you get to see a master like Gregory Hines at work--which is a lot, by the way.
For Hollywood, some of this filmmaking feels, if not experimental, a bit divergent from the filmmaking norms of the era. Coppola made this movie at a strange point in his career: that 1980s stretch, after the mega-successes offilms, in which the director helmed multiple box office failures, despite some of them—like the wrongly underseen Tom Waits musical, which isn’t a musical but has the tilt and swagger of one—being among the most adventurous works of his career.
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