The Doors (film)

The Doors (film)
The Doors

Theatrical release poster
Directed by Oliver Stone
Produced by Brian Grazer
Bill Graham
Sasha Harari
A. Kitman Ho
Written by Oliver Stone
J. Randall Johnson
Starring Val Kilmer
Meg Ryan
Kyle MacLachlan
Frank Whaley
Kevin Dillon
Kathleen Quinlan
Billy Idol
Josh Evans
Cinematography Robert Richardson
Editing by David Brenner
Joe Hutshing
Studio Carolco Pictures
Imagine Entertainment
Distributed by TriStar Pictures
Release date(s) March 1, 1991 (1991-03-01)
Running time 140 minutes
134 minutes (Special Edition)
Country United States
Language English
Budget $32 million
Box office $34,416,893

The Doors is a 1991 biopic about the 1960s-1970s rock band of the same name which emphasizes the life of its lead singer, Jim Morrison. It was directed by Oliver Stone, and stars Val Kilmer as Morrison, Meg Ryan as Pamela Courson (Morrison's companion), Kyle MacLachlan as Ray Manzarek, Frank Whaley as Robby Krieger, Kevin Dillon as John Densmore, and Kathleen Quinlan as Patricia Kennealy.

The film portrays Morrison as the larger-than-life icon of 1960s rock and roll, counterculture, and the drug-using free love hippie lifestyle. But the depiction goes beyond the iconic: his alcoholism, interest in the spiritual plane and hallucinogenic drugs as entheogens, and, particularly, his growing obsession with death are threads which weave in and out of the film. The film's depiction of Morrison did not sit well with his close friends and family.



The film opens during the recording of Morrison's An American Prayer and quickly moves to a childhood memory of his family driving along a desert highway. Young Jim sees an elderly native American dying by the roadside. The film picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days studying at UCLA; his introduction to his girlfriend Pamela Courson, his first encounters with Ray Manzarek, and the origin of The Doors: Manzarek, Robby Krieger, and John Densmore.

Morrison convinces his bandmates to travel to Death Valley and experience the effects of psychedelic drugs. Returning to Los Angeles, they play several shows at the famous Whisky a Go Go club and develop a rabid fanbase. Morrison's onstage antics and occasionally improvised lyrics raise the ire of club owners; however, the band's popularity continues to expand.

As The Doors become hugely successful, Morrison becomes increasingly infatuated with his own image as "The Lizard King" and degenerates into alcoholism and drug addiction. As he sinks deeper into an alcoholic haze he begins having several affairs, particularly mystical sexual encounters with Patricia Kennealy, a rock journalist involved in witchcraft. The rest of the band grows weary of Morrison's missed recording sessions and absences at concerts. Morrison is depicted arriving late to a Miami, Florida concert, becoming increasingly confrontational towards the audience and exposing himself onstage. The incident is a low point for the band, resulting in resentment from the other band members and Morrison's trial for indecent exposure.

In 1971, Courson finds Jim Morrison dead in a bathtub in Paris, France, at the age of 27. Pamela Courson similarly dies three years later of a drug overdose, also at the age of 27. The final scenes of the film before the credits roll are of Morrison's gravesite in Père Lachaise Cemetery in Paris with a rock version of Remo Giazotto's Adagio in G minor playing in the background as well as a voice over by Morrison. Just before the credits, the screen whites out and text appears saying "Jim Morrison is said to have died of heart failure. He was 27. Pam joined him three years later."

During the credits, the band is shown recording the song "L.A. Woman" in the studio.




Directors like Brian De Palma, Martin Scorsese, and William Friedkin flirted with making a Doors biopic over the years.[1] In 1985, Columbia Pictures acquired the rights from the Doors and the Morrison estate to make a film. Producer Sasha Harari wanted filmmaker Oliver Stone to write the screenplay but never heard back from his agent. After two unsatisfactory scripts were produced, Imagine Films replaced Columbia. Harari contacted Stone again and the director met with the surviving band members. He told them he wanted to keep a particularly wild scene from one of the early drafts. The group was offended and exercised their right of approval over the director and rejected Stone. By 1989, Mario Kassar and Andrew Vajna, who owned Carolco Pictures, acquired the rights to the project and they wanted Stone to direct it.[1] The Doors had seen Platoon and were impressed with what Stone had done.[2] He agreed to make it after his next project, Evita. After spending years working on it and courting Madonna and Meryl Streep to play the lead role, the film fell apart over salary negotiations with Streep. Stone quickly moved over to The Doors and went into pre-production.[2] Guitarist Robby Krieger had always opposed a Doors biopic until Stone signed on to direct.[3] Historically, keyboardist Ray Manzarek had been the biggest advocate of immortalizing the band on film but opposed Stone's involvement.[3] He was not happy with the direction that Stone was going to take with the film and refused to give his approval. According to actor Kyle MacLachlan, "I know that he and Oliver weren't speaking. I think it was hard for Ray, he being the keeper of the Doors myth for so long".[4] According to Krieger, "when the Doors broke up Ray had his idea of how the band should be portrayed and John and I had ours".[3] Manzarek claims that he was not asked to consult on the film and wanted it to be about all four band members equally rather than the focus being on Morrison.[5] Stone claimed that he repeatedly tried to get Manzarek involved, but "all he did was rave and shout. He went on for three hours about his point of view ... I didn't want Ray to be dominant, but Ray thought he knew better than anybody else".[6]


Stone first heard the Doors in 1967, when he was a 21-year-old soldier in Vietnam.[7] Before filming started, Stone and his producers had to negotiate with the three surviving band members and the parents of Morrison and his girlfriend Pamela Courson, and the band's label Elektra Records. Morrison's parents would only allow themselves to be depicted in a dream-like flashback sequence at the beginning of the film. The Coursons wanted there to be no suggestion in any way that Pamela caused Morrison's death. Stone found the Coursons the most difficult to deal with because they wanted Pamela to be portrayed as "an angel".[7] While researching the film, Stone read through transcripts of interviews with over 100 people.[8] He then wrote his own script in the summer of 1989. Stone said, "The Doors script was always problematic. Even when we shot, but the music helped fuse it together".[9] Stone picked the songs he wanted to use and then wrote "each piece of the movie as a mood to fit that song".[9] The Coursons did not like his script and tried to slow the production down by refusing to allow any of Morrison's later poetry to be used in the film. After he died, Pamela got the rights to his poetry and when she died, her parents got the rights.[9]


For nearly ten years before the film was made, the project went through development hell after being considered by many studios and directors. Several actors including Tom Cruise, Johnny Depp, John Travolta, and Richard Gere were each considered for the role of Morrison when the project was still in development in the 1980s.[10] Even the lead singers from INXS and U2 expressed an interest in the role.[1] When Stone began talking about the project in 1986, he had Val Kilmer in mind to play Morrison after seeing him in the Ron Howard fantasy film Willow.[7][11] Kilmer had the same kind of singing voice as Morrison and to convince Stone that he was right for the role, spent several thousand of his own dollars and made his own eight-minute video, singing and looking like Morrison at various stages of his life.[12] To prepare for the role, Kilmer lost weight and spent six months rehearsing Doors songs every day. The actor learned 50 songs, 15 of which are actually performed in the film. Kilmer also spent hundreds of hours with Paul Rothchild, who told him, "anecdotes, stories, tragic moments, humorous moments, how Jim thought, what were my interpretation of Jim's lyrics," the music producer said.[12] Rothchild also took Kilmer into the studio and helped him in "some pronunciations, idiomatic things that Jim would do that made the song sound like Jim".[12] Kilmer also met with Krieger and Densmore but Manzarek refused to talk to him.[12] When the Doors heard Kilmer singing they could not tell if it was him or Morrison's voice.[13]

Stone auditioned approximately 60 actresses for the role of Pamela Courson.[14] The part required nudity and the script featured some wild sex scenes which generated a fair amount of controversy. Casting director Risa Bramon felt that Patricia Arquette auditioned very well and should have gotten the part.[14] To prepare for the role, Meg Ryan talked to the Coursons and people that knew Pamela.[7] Before doing the film, she was not familiar with Morrison and "liked a few songs" and said, "I had to reexamine all my beliefs about it [the 1960s] in order to do this movie".[15] In doing research, she encountered several conflicting views of Pamela.[14]

Krieger acted as a technical adviser on the film and this mainly involved showing his cinematic alter ego, Frank Whaley, where to put his fingers on the fretboard.[3] Densmore also acted as a consultant on the film, tutoring Kevin Dillon who played him in the film.[10]

Principal photography

With a budget set at $32 million, The Doors was filmed over 13 weeks predominantly in and around Los Angeles, California; Paris, France; New York City, New York and the Mojave Desert.[5][16] Stone originally hired Paula Abdul to choreograph the film's concert scenes but she dropped out because she did not understand Morrison's on-stage actions and was not familiar with the time period. She recommended Bill and Jacqui Landrum. They watched hours of concert footage before working with Kilmer. The Landrums got him to dance exercises to loosen up his upper body and jumping routines to develop his stamina.[17] During the concert scenes, Kilmer did the actual singing and Stone used the Doors' master tapes without Morrison's lead vocals to avoid lip-synching.[18] Kilmer's endurance was put to the test during the concert sequences which took several days to film. Stone said, "his voice would start to deteriorate after two or three takes. We had to take that into consideration".[19] One sequence, filmed inside the Whisky a Go Go, was harder than others due to all the smoke and sweat - a result of the body heat and intense camera lights. For five days, Kilmer performed "The End" and, after the 24th take Stone got what he wanted, his actor was completely exhausted.[19]

Controversy arose during filming when a memo linked to Kilmer circulated among cast and crew members listing rules of how the actor was to be treated for the duration of principal photography.[20] These included people being forbidden to approach him on the set without good reason, not to address him by his own name while he was in character, and no one could "stare" at him on the set. An upset Stone contacted Kilmer's agent and the actor claimed it was all a huge misunderstanding and that the memo was for his own people and not the film crew.[20]


The film's soundtrack contains over two dozen of The Doors' songs; in the film, original recordings of the band are combined with vocal performances by Kilmer himself. In addition to the many themed Doors songs featured, two songs by The Velvet Underground are also heard throughout the film.[21]

Historical accuracy

The film is based mostly on real people and actual events, but some parts are clearly Stone's vision and dramatization of those people and events. For example, when Morrison is asked to change the infamous lyric in "Light My Fire" for his appearance on The Ed Sullivan Show, he is depicted as blatantly ignoring their request. The film depicts a defiant Morrison shouting the word "higher" into the TV camera, while, in fact, he highlighted "fire" during the performance (and sang the line "higher" more or less as he originally recorded it). In one version, Morrison insisted that it was an accident, that he meant to change the lyric but was so nervous about performing on live television that he forgot to change it when he was singing. In another version, Ray Manzarek says that The Doors pretended to agree to the change of words, and deliberately played the song as they always had, though, without any added emphasis on the offending word.[22]

The film portrays Morrison's early period with The Doors with all the original band members included. Robby Krieger did not join the band until later the same year as this particular period takes place.

When Jim is at the bar he asks the bartender for a Dos Equis but Dos Equis wasn't exported to the United States until 1973.

Jim and Patricia Kennealy are talking in the shower stall in the scene in New Haven, Connecticut. She inaccurately states that Jim attended the University of Florida, when Jim actually attended Florida State University.

Morrison is also depicted locking Courson in a closet and setting it on fire, which is said to have never happened. None of the above mentioned books tell this story either. Rhino Records photographer Bobby Klein claims to have had Courson come over to his house when this incident occurred, and to have taken care of her during some weeks after. Manzarek is quoted as stating firmly that this incident never happened in the record of a question and answer session he did on Universal Chat Network in 1997.[23] However, in his book Light My Fire, Manzarek is frank about Morrison's tendency to go into senseless rages.[24] The book The Doors quotes Densmore as saying of the couple, "They were like Romeo and Juliet. They fought like hell, but they were meant to be together."

Dialogue that took place between Kennealy and Morrison is reassigned to Courson, and Courson is depicted as saying hostile things to Kennealy, when by all reports their interactions were polite. Densmore is also portrayed as hating Morrison as Morrison's personal and drug problems begin to dominate his behavior. In truth, as Densmore writes in Riders on the Storm, he never directly confronted Morrison about his behavior.

Krieger, Densmore, and Kennealy are all credited as technical advisors for the film; however, they have all commented that although they may have given advice, Stone often chose to ignore it in favor of his own vision of the story. The settings for the film, particularly the concert sequences, are depicted in mostly chronological order, although the crowd scenes contain many blatant exaggerations, such as portrayals of nudity that did not occur.

The surviving Doors members were all to one degree or another unhappy with the final product, and were said to have heavily criticized Stone's portrayal of Morrison as an "out of control sociopath". In a 1991 interview with Gary James, Manzarek criticized Stone for exaggerating Morrison's alcohol consumption in the movie, saying, "Jim with a bottle all the time. It was ridiculous . . . It was not about Jim Morrison. It was about Jimbo Morrison, the drunk. God, where was the sensitive poet and the funny guy? The guy I knew was not on that screen."[25] In the afterword of his book Riders on the Storm, Densmore says that the movie is based on "the myth of Jim Morrison". In the same place, he criticizes the film for portraying Morrison's ideas as "muddled through the haze of the drink [alcohol]". In a 1994 interview, Krieger said that the film doesn't give the viewer "any kind of understanding of what made Jim Morrison tick." Krieger also commented about the film in the same interview: "They left a lot of stuff out. Some of it was overblown, but a lot of the stuff was very well done, I thought."[26]

In the book The Doors, Manzarek says, "That Oliver Stone thing did real damage to the guy I knew: Jim Morrison, the poet." In this book, Densmore says of the movie, "A third of it's fiction." In the same volume, Krieger joins Manzarek and Densmore in describing the movie as inaccurate, but also says, referring to the film's inaccuracy, "It could have been a lot worse."

As the credits point out and as Stone emphasizes on his DVD commentary, some characters, names, and incidents in the film are fictitious or amalgamations of real people. Stone states in particular in the 1997 documentary The Road of Excess that Quinlan's character, Patricia Kennealy, is a composite, and in retrospect should have been given a fictitious name. Kennealy in particular was hurt by her portrayal in the film. Ryan's character, Pam Courson, involves liberties of a different sort. The former Doors do not think the movie depiction of her is very accurate, as their book The Doors describes the version of Courson in the movie as "a cartoon of a girlfriend". Courson's parents had inherited Morrison's poems when their daughter died, and Stone had to agree to restrictions about his portrayal of her in exchange for the rights to use the poetry. In particular, Stone agreed to avoid any suggestion that Courson may have been responsible for Morrison's death. However, Alain Ronay and Courson herself had both said that she was partially responsible. In Riders on the Storm, Densmore says Courson said she felt terribly guilty because she had obtained drugs that she believed had either caused or contributed to Morrison's death.

However, Manzarek did not share the same enthusiasm of how Morrison was portrayed by Stone's interpretation. In Manzarek's biography of the Doors, Light My Fire he often criticizes Stone and also includes myriad details that discredit Stone's account of Morrison. For example, in Stone's "re-creation" of Morrison's student film at UCLA, he has Morrison watching a D-Day sequence on TV and shouting profanities in German, with a near-nude German exchange student dancing on top of the TV sporting a swastika armband. According to Manzarek, the only similarity between Stone's version and Morrison's was that the girl in question was indeed German.[27]

Critical reception

According to Q, "few people emerged from seeing <the film> having raised their opinions of that band and especially its singer Jim Morrison". The problem, as critic Keith Cameron has put it, wasn't so much that "Stone dwelled upon Morrison the inebriate, the Philanderer, or the pretentious Lizard King... No, blame cliched Hollywood devices for sucking the wonder from the pioneering band: actors with fake hair saying silly things..." and "a self-important director's turgid attempts to make grand statements about America".[28]

See also

  • When You're Strange – a documentary film about The Doors


  1. ^ a b c Riordan 1996, p. 308.
  2. ^ a b Riordan 1996, p. 310.
  3. ^ a b c d Mitchell, Justin (December 28, 1990). "Opening Up a Closed Door". St. Petersburg Times: pp. 19. 
  4. ^ MacInnis, Craig (March 2, 1991). "The Myth is Huge, but the Truth is the Lure of the Eternal". Toronto Star: pp. H1. 
  5. ^ a b Broeske, P (March 10, 1991). "Stormy Rider". Sunday Herald. 
  6. ^ Riordan 1996, p. 312.
  7. ^ a b c d McDonnell, D (March 2, 1991). "Legendary Rocker Lives Again". Herald Sun: pp. 27. 
  8. ^ "Oliver Stone and The Doors". The Economist. March 16, 1991. 
  9. ^ a b c Riordan 1996, p. 311.
  10. ^ a b McDonnell, D (March 16, 1991). "Rider on the Storm". Courier-Mail. 
  11. ^ Green, Tom (March 4, 1991). "Kilmer's Uncanny Portrait of Morrison Opens Career Doors". USA Today: pp. 4D. 
  12. ^ a b c d Hall, Carla (March 3, 1991). "Val Kilmer, Lighting the Fire". Washington Post: pp. G1. 
  13. ^ Riordan 1996, p. 314.
  14. ^ a b c Riordan 1996, p. 316.
  15. ^ Riordan 1996, p. 322.
  16. ^ Riordan 1996, p. 317.
  17. ^ Thomas, Karen (March 12, 1991). "Helping Stage The Doors". USA Today: pp. 2D. 
  18. ^ Riordan 1996, p. 318.
  19. ^ a b Kilday, Gregg (March 1, 1991). "Love Me Two Times". Entertainment Weekly.,,313463,00.html. Retrieved 2010-07-17. 
  20. ^ a b Riordan 1996, p. 326.
  21. ^ The Doors (1991) - Trivia
  22. ^ Manzarek, Ray. Light My Fire. New York: Berkley Boulevard Books, 1998 (ISBN 04125170454), p. 251-252.
  23. ^ Chat with Ray Manzarek 11/17/97
  24. ^ Manzarek, Light My Fire, p. 180, 205-207, 305-308.
  25. ^ Gary James' Interview with Ray Manzarek
  26. ^ Gary James' Interview with Robby Krieger
  27. ^ Manzarek, Light My Fire, p. 55-57
  28. ^ Cameron, Keith. Q magazine. 2010. October issue. Review Music DVDs. The Doors. When You're Strange. p.134.
  • Riordan, James (September 1996) Stone: A Biography of Oliver Stone. New York: Aurum Press. ISBN 1854104446

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