Well, being a huge fan, knowing quite a lot of people in the Doors (full) circle and having been everywhere from Pere Lachaise to Rothdell Trail to Fairhaven Memorial... I have to say I did turn this on with a slight sense of anxiousness as to whether it would be another destruction of James Douglas Morrison's entire character as both the Oliver Stone horrorshow and the numerous vacuous "rockumentataries" have done.
However, I have to say, I was pleasantly surprised in the main. If you're a hardcore Doors fan then despite the claims of previously unseen footage, you will have seen most of this, few people have been to Paris without bumping into the likes of Rainer Moddeman and other well connected superfans and blagging bootleg stuff and HWY and Feast of Friends have been pretty easy to secure for a long time now as have tapes of Critique etc. But, I was quite impressed with what Tom Dicillo did with the footage, not only was he sympathetic and judicious with it but he accented the narrative with it almost as good as Densmore accented anything Jim did. Clearly, for the eagle eyed, he used footage from other events to underscore a point on an entirely different event but that's just me being picky - ultimately, there is a finite amount of footage that could be trawled. He avoided a lot of the glaring pitfalls one could easily make in such a documentary - for example he didn't get too caught in the trap of juxtaposing events in the 60's with the events of the Doors (there was some of this but it was measured and relevant) and I thought Depp was okay with his voice-over although he was a little dour and the script was at times a little prescriptive and compartmentalised. I do however appreciate that the film has to be appeal to more than the hardcore afficianados and that a balance has to be struck so I think the film really does work well both for those who only have a loose interest in The Doors (or even those just interested in the era) and those more fanatical about The Doors.
I know that Ray (at least) backed this film vocally which gives it credibility from the get go and I you have to give the guy credit for using only original footage. That said, this probably reduces the "filmmaking" to that of an editor so I don't want to be too gushing but still, give the guy his due, the end product is enjoyable, reasonably balanced, it maintained interest and it definitely had some nice touches in it which as I said derived from clever use of the stock material. It wasn't just the choice of footage; it was the more the way it was deployed and paced.
Maybe if budget (or sensibilities) had allowed, the film could have encompassed some other original footage (or other stock footage even) for those Doors fans who want to learn more about the Doors landmarks - be it shots of Venice beach or Rue Beautreillis but what I am glad of is the fact that they stayed well away from including interviews with the usual crowd like Grace Slick etc. which I think would have corrupted the output.
I'll watch it (and review it) sober again and see whether I feel the same but all in all, to quote the Velvet Menace himself, "pretty good, pretty good, pretty neat, pretty neat".
However, I have to say, I was pleasantly surprised in the main. If you're a hardcore Doors fan then despite the claims of previously unseen footage, you will have seen most of this, few people have been to Paris without bumping into the likes of Rainer Moddeman and other well connected superfans and blagging bootleg stuff and HWY and Feast of Friends have been pretty easy to secure for a long time now as have tapes of Critique etc. But, I was quite impressed with what Tom Dicillo did with the footage, not only was he sympathetic and judicious with it but he accented the narrative with it almost as good as Densmore accented anything Jim did. Clearly, for the eagle eyed, he used footage from other events to underscore a point on an entirely different event but that's just me being picky - ultimately, there is a finite amount of footage that could be trawled. He avoided a lot of the glaring pitfalls one could easily make in such a documentary - for example he didn't get too caught in the trap of juxtaposing events in the 60's with the events of the Doors (there was some of this but it was measured and relevant) and I thought Depp was okay with his voice-over although he was a little dour and the script was at times a little prescriptive and compartmentalised. I do however appreciate that the film has to be appeal to more than the hardcore afficianados and that a balance has to be struck so I think the film really does work well both for those who only have a loose interest in The Doors (or even those just interested in the era) and those more fanatical about The Doors.
I know that Ray (at least) backed this film vocally which gives it credibility from the get go and I you have to give the guy credit for using only original footage. That said, this probably reduces the "filmmaking" to that of an editor so I don't want to be too gushing but still, give the guy his due, the end product is enjoyable, reasonably balanced, it maintained interest and it definitely had some nice touches in it which as I said derived from clever use of the stock material. It wasn't just the choice of footage; it was the more the way it was deployed and paced.
Maybe if budget (or sensibilities) had allowed, the film could have encompassed some other original footage (or other stock footage even) for those Doors fans who want to learn more about the Doors landmarks - be it shots of Venice beach or Rue Beautreillis but what I am glad of is the fact that they stayed well away from including interviews with the usual crowd like Grace Slick etc. which I think would have corrupted the output.
I'll watch it (and review it) sober again and see whether I feel the same but all in all, to quote the Velvet Menace himself, "pretty good, pretty good, pretty neat, pretty neat".