The Doors (Special Edition)
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List Price: $9.98
Our Price: $3.55
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Manufacturer: Lions Gate
Starring: Gretchen Becker, Dennis Burkley, Kendal Deichen, John Densmore, Kevin Dillon
Directed By: Oliver Stone
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Average Customer Rating:  
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Aspect Ratio: 2.35:1
Audience Rating: R (Restricted)
Binding: DVD
EAN: 0012236115816
Format: Closed-captioned
Label: Lions Gate
Number Of Items: 2
Publisher: Lions Gate
Region Code: 1
Release Date: 2001-08-14
Running Time: 140
Studio: Lions Gate
Theatrical Release Date: 1991-03-01
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Spotlight customer reviews:
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Customer Rating:
Summary: open the door for this one, it's good
Comment: Wow, this is a very good movie. Even if you consider yourself only somewhat of a Doors fan, you gotta admit this is one mighty fine movie. The guy who plays the Jim Morrison character looks so much like him it's not even funny (and with the Doors, it's never a laughing matter). You will learn so much about the band, and specifically Jim Morrison. I like how he found his girlfriend in the beginning of the movie.
As for the Doors music, you will hear PLENTY of that throughout the movie. A variety of songs throughout the first six studio albums, and even some surprising lesser known songs can be heard at times, such as "Love Street" and "Five to One". I wasn't expecting to hear those songs.
The story of how "Light my Fire" was created is a really good one too. The constant drugs and drinking that Morrison did is all mentioned and detailed here as well. Also, the part where the Doors weren't allowed to say "girl you couldn't get much higher" from the famous Ed Sullivan bit is included. I like how Ed wanted the band to be happier and not so gloomy when they were sitting around in their dressing rooms and waiting to go out there and perform, haha. We can look back and see the Doors simply didn't WANT to be the happy cheery type.
I guess Jim Morrison was shy at first and didn't want to perform in front of big crowds, which explains why the first performance the Doors ever did, Jim had his back to the audience. That was interesting.
My favorite part is when Jim Morrison actually thought he wasn't a very good singer, and then he starts singing to the band members and... WOW. Are you kidding me? The guy is a BRILLIANT singer!
Overall, this is great great stuff.
Customer Rating:
Summary: Bored out of my gourd
Comment: Oliver Stone's and we all know about him, rendition of a quasi biography of an influential 1960's rock band. We are treated to behind the scene understanding of what makes Jim Morrison, Jim Morrison.
The movie dragged on and on and on with psychedelic filler. Most of the actors were sleepwalking through the script, especially Meg Ryan and Val Kilmer.
Doors - Soundstage Performances
Customer Rating:
Summary: The Doors rock!
Comment: Highly entertaining film about the Doors rise to fame. The music is great. Not to be missed.
Customer Rating:
Summary: The Doors - Blu-ray Info
Comment: Version: U.S.A / Region Free
MPEG-4 AVC BD-50 / High Profile 4.1
Running time: 2:20:39
Movie size: 36,35 GB
Disc size: 47,85 GB
Average video bit rate: 26.98 Mbps
DTS-HD Master Audio English 5119 kbps 7.1 / 48kHz / 24-bit / 5119kbps (DTS Core: 5.1 / 48kHz / 24-bit / 1536kbps)
Dolby Digital Audio English 224 kbps 2.0 / 48kHz / 224kbps
Dolby Digital Audio French 224 kbps 2.0 / 48kHz / 224kbps
Subtitles: English / English SDH / Spanish
Number of chapters: 16
#Director's Commentary
#Jim Morrison: An American Poet in Paris (SD, 52 minutes)
#The Road to Excess (SD, 38 minutes)
#Deleted Scenes (SD, 44 minutes)
#The Doors in LA (HD, 19 minutes)
#Vintage Featurette (SD, 6 minutes)
#Trailers and TV Spots
Customer Rating:
Summary: "Motel Money Murder Madness..."
Comment: This is Oliver Stone's best film, Val Kilmer's best performance, and the 2d best fiction film representation of a rock band (This Is Spinal Tap is the best, of course). But first, the bad news:
Stone's miscogyny nearly sinks the film. Morrison's significant other,Pamela Courson, was by all accounts, a tough as nails hippy chick who had the measure of her man. Jim was as devoted to her as he could be to a woman, and while both strayed often, they always came back to each other. Doors songs memorializing their relationship, like "Queen of the Highway," are a window into what Ray Manzarek termed a great love story. In the film, poor Meg Ryan (an excellent physical match for Pam) plays her as a nagging whiny scold, always trying to stop our hero from doing whatever it is a man's gotta do. Nothing could have been further from the truth, as Pam's refusal to put Jim on a leash was what kept them together. Her character is intolerable in the flick, just like Sissy Spacek's performance as Jim Garrison's wife in JFK and Daryl Hannah's in Wall Street, and is likely more representative of Stone's relationships with sundry long-suffering ex-wives than Pam and Jim. Stone's miscogny rears its ugly head again in his slander of Nico, the ethereal, brilliant ice goddess, here depicted as a balloon-breasted nekkid bimbo. Ugh.
These 2 dead women are sadly not around to kick Stone's butt for the injustice committed herein.
Second: for a movie called "The Doors," Robby Krieger, John Densmore, and Ray Manzarek are relegated to the background of the film. Morrison deferred to them in all matters artistic, and in return they provided him with a splendid musical carpet, backing his every unpredictable move every step of the way. While the film does justice to the music, it barely acknowledges the contribution of the musicians, without whom Morrison knew and acknowledged he was nothing. Character-wise, they seem like low-key versions of Pam, bemused and upset by Jim's antics where I suspect in real life they were enablers and facilitors and collaborators.
Now the good: perhaps because and not in spite of the fact Stone was stuck in the jungles of Vietnam while this story was being played out, as an imaginative re-creation of The Summer of Love and its dark aftermath, this film is nonpareil. Every detail of decor and costume, every location, seems dead-on accurate. [except for the fact that the women who pack the gigs look like they just tumbled off a casting couch...] I think Stone relished making up for the '60's he missed, and threw himself into the project with discipline and love. (Think of this as the homefront story playing out behind Platoon and Born on the 4th of July...)The concert scenes are phenomenal, orchestrated chaos spiraling out of control, while the ring-leader looks on with a bemused, ironic detatchment, not quite knowing what to make of the mindless Dionysian energies he has un-leashed in his audience.
Morrison speaks to Stone: both are products of the counterculture gestalt, both are artists who mix vast talent with vast pretension, excess, bombast, a boatload of drugs, and macho nonsense in equal measure. Stone's aesthetic failings are also Morrison's (great pop star/wretched poet), so the weaknesses of the film don't really hurt the movie, they make it seem more true to Mr Mojo Risin's messed up genius.
Finally -- Val Kilmer. This performance/incarnation is flat-out uncanny. Beyond capturing the obvious -- the looks, the voice, the stance, the charisma -- Kilmer also catches the irony and anti-star compulsions; his bemused role-playing when he poses for cheesecake photos for the cover of 16 magazine, his desire to shake up his audience by all the means at his disposal, his willful physical degeneration, pulling the plug on his Pop Star persona by turning himself into a tubby bearded wino/bluesman in record time. Kilmer never lets us forget Morrison was something of a clown, waiting and watching to see what would happen next when he ventured out further on the edge, appreciating the absurdity of the endeavor. Kilmer's sense of humor and self-mockery is what saves the movie from pretension, as it ultimately saves Morrison's art.
Formally, this movie initiated the chaotic visual style, expressionist psychedelic agit-prop, which Stone brought to fruition in subsequent films like JFK, Natural Born Killers, and Nixon. The film seems to careen out of control, but Stone's hand is firmly on the tiller. By the time we get to the legendary Miami concert that basically ended the band's career, with Kilmer/Morrison exhorting his equally whacked-out audience to follow him all the way, but clueless as to the destination, the swirling disembodied camera, perfectly re-created music, and wild montage really puts us in the heart of an epoch long past -- I really felt like i was there. Warts and all, a classic.
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Editorial Reviews:
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Customer Rating:
Summary: open the door for this one, it's good
Comment: Wow, this is a very good movie. Even if you consider yourself only somewhat of a Doors fan, you gotta admit this is one mighty fine movie. The guy who plays the Jim Morrison character looks so much like him it's not even funny (and with the Doors, it's never a laughing matter). You will learn so much about the band, and specifically Jim Morrison. I like how he found his girlfriend in the beginning of the movie.
As for the Doors music, you will hear PLENTY of that throughout the movie. A variety of songs throughout the first six studio albums, and even some surprising lesser known songs can be heard at times, such as "Love Street" and "Five to One". I wasn't expecting to hear those songs.
The story of how "Light my Fire" was created is a really good one too. The constant drugs and drinking that Morrison did is all mentioned and detailed here as well. Also, the part where the Doors weren't allowed to say "girl you couldn't get much higher" from the famous Ed Sullivan bit is included. I like how Ed wanted the band to be happier and not so gloomy when they were sitting around in their dressing rooms and waiting to go out there and perform, haha. We can look back and see the Doors simply didn't WANT to be the happy cheery type.
I guess Jim Morrison was shy at first and didn't want to perform in front of big crowds, which explains why the first performance the Doors ever did, Jim had his back to the audience. That was interesting.
My favorite part is when Jim Morrison actually thought he wasn't a very good singer, and then he starts singing to the band members and... WOW. Are you kidding me? The guy is a BRILLIANT singer!
Overall, this is great great stuff.
Customer Rating:
Summary: Bored out of my gourd
Comment: Oliver Stone's and we all know about him, rendition of a quasi biography of an influential 1960's rock band. We are treated to behind the scene understanding of what makes Jim Morrison, Jim Morrison.
The movie dragged on and on and on with psychedelic filler. Most of the actors were sleepwalking through the script, especially Meg Ryan and Val Kilmer.
Doors - Soundstage Performances
Customer Rating:
Summary: The Doors rock!
Comment: Highly entertaining film about the Doors rise to fame. The music is great. Not to be missed.
Customer Rating:
Summary: The Doors - Blu-ray Info
Comment: Version: U.S.A / Region Free
MPEG-4 AVC BD-50 / High Profile 4.1
Running time: 2:20:39
Movie size: 36,35 GB
Disc size: 47,85 GB
Average video bit rate: 26.98 Mbps
DTS-HD Master Audio English 5119 kbps 7.1 / 48kHz / 24-bit / 5119kbps (DTS Core: 5.1 / 48kHz / 24-bit / 1536kbps)
Dolby Digital Audio English 224 kbps 2.0 / 48kHz / 224kbps
Dolby Digital Audio French 224 kbps 2.0 / 48kHz / 224kbps
Subtitles: English / English SDH / Spanish
Number of chapters: 16
#Director's Commentary
#Jim Morrison: An American Poet in Paris (SD, 52 minutes)
#The Road to Excess (SD, 38 minutes)
#Deleted Scenes (SD, 44 minutes)
#The Doors in LA (HD, 19 minutes)
#Vintage Featurette (SD, 6 minutes)
#Trailers and TV Spots
Customer Rating:
Summary: "Motel Money Murder Madness..."
Comment: This is Oliver Stone's best film, Val Kilmer's best performance, and the 2d best fiction film representation of a rock band (This Is Spinal Tap is the best, of course). But first, the bad news:
Stone's miscogyny nearly sinks the film. Morrison's significant other,Pamela Courson, was by all accounts, a tough as nails hippy chick who had the measure of her man. Jim was as devoted to her as he could be to a woman, and while both strayed often, they always came back to each other. Doors songs memorializing their relationship, like "Queen of the Highway," are a window into what Ray Manzarek termed a great love story. In the film, poor Meg Ryan (an excellent physical match for Pam) plays her as a nagging whiny scold, always trying to stop our hero from doing whatever it is a man's gotta do. Nothing could have been further from the truth, as Pam's refusal to put Jim on a leash was what kept them together. Her character is intolerable in the flick, just like Sissy Spacek's performance as Jim Garrison's wife in JFK and Daryl Hannah's in Wall Street, and is likely more representative of Stone's relationships with sundry long-suffering ex-wives than Pam and Jim. Stone's miscogny rears its ugly head again in his slander of Nico, the ethereal, brilliant ice goddess, here depicted as a balloon-breasted nekkid bimbo. Ugh.
These 2 dead women are sadly not around to kick Stone's butt for the injustice committed herein.
Second: for a movie called "The Doors," Robby Krieger, John Densmore, and Ray Manzarek are relegated to the background of the film. Morrison deferred to them in all matters artistic, and in return they provided him with a splendid musical carpet, backing his every unpredictable move every step of the way. While the film does justice to the music, it barely acknowledges the contribution of the musicians, without whom Morrison knew and acknowledged he was nothing. Character-wise, they seem like low-key versions of Pam, bemused and upset by Jim's antics where I suspect in real life they were enablers and facilitors and collaborators.
Now the good: perhaps because and not in spite of the fact Stone was stuck in the jungles of Vietnam while this story was being played out, as an imaginative re-creation of The Summer of Love and its dark aftermath, this film is nonpareil. Every detail of decor and costume, every location, seems dead-on accurate. [except for the fact that the women who pack the gigs look like they just tumbled off a casting couch...] I think Stone relished making up for the '60's he missed, and threw himself into the project with discipline and love. (Think of this as the homefront story playing out behind Platoon and Born on the 4th of July...)The concert scenes are phenomenal, orchestrated chaos spiraling out of control, while the ring-leader looks on with a bemused, ironic detatchment, not quite knowing what to make of the mindless Dionysian energies he has un-leashed in his audience.
Morrison speaks to Stone: both are products of the counterculture gestalt, both are artists who mix vast talent with vast pretension, excess, bombast, a boatload of drugs, and macho nonsense in equal measure. Stone's aesthetic failings are also Morrison's (great pop star/wretched poet), so the weaknesses of the film don't really hurt the movie, they make it seem more true to Mr Mojo Risin's messed up genius.
Finally -- Val Kilmer. This performance/incarnation is flat-out uncanny. Beyond capturing the obvious -- the looks, the voice, the stance, the charisma -- Kilmer also catches the irony and anti-star compulsions; his bemused role-playing when he poses for cheesecake photos for the cover of 16 magazine, his desire to shake up his audience by all the means at his disposal, his willful physical degeneration, pulling the plug on his Pop Star persona by turning himself into a tubby bearded wino/bluesman in record time. Kilmer never lets us forget Morrison was something of a clown, waiting and watching to see what would happen next when he ventured out further on the edge, appreciating the absurdity of the endeavor. Kilmer's sense of humor and self-mockery is what saves the movie from pretension, as it ultimately saves Morrison's art.
Formally, this movie initiated the chaotic visual style, expressionist psychedelic agit-prop, which Stone brought to fruition in subsequent films like JFK, Natural Born Killers, and Nixon. The film seems to careen out of control, but Stone's hand is firmly on the tiller. By the time we get to the legendary Miami concert that basically ended the band's career, with Kilmer/Morrison exhorting his equally whacked-out audience to follow him all the way, but clueless as to the destination, the swirling disembodied camera, perfectly re-created music, and wild montage really puts us in the heart of an epoch long past -- I really felt like i was there. Warts and all, a classic.
Thanks in large part to its meticulous re-creation of the late-1960s and early-'70s rock scene and the uncannily authentic performance by Val Kilmer as legendary Doors frontman Jim Morrison, Oliver Stone's hypnotic film biography is standing the test of time. Capturing the carefree mood of the Age of Aquarius, the film charts the meteoric rise of the Doors on the California club circuit (including a memorable scene showing the creation of the hit "Light My Fire"), and chronicles the band's exploits with hallucinogenics and Morrison's battles against charges of public indecency on stage. Kilmer's performance is hauntingly perfect, and performances by Meg Ryan, Kathleen Quinlan, and Kyle MacLachlan are similarly impressive. The movie doesn't fully probe the depths of Morrison's character, but as a portrait of excess it is vividly true to the spirit of the self-destructive poet known to his fans as "The Lizard King." --Jeff Shannon
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