The Cotton Club [1984]

What The Cotton Club lacks is cohesion. Written by Coppola and novelist William Kennedy (then enjoying the peak of his critical acclaim), the film struggles to exceed the narrative scope of The Godfather, but its multiple early-'30s plotlines fail to form any strong connective tissue. It's three (or four) movies in one, with cornet player Dixie Dwyer (Richard Gere, playing his own jazzy solos) drifting from one story to the next--loving a young, ambitious vamp (Diane Lane, with whom Gere shares precious little chemistry), enjoying the success of a hot-shot hoofer (Gregory Hines), and protecting his brazen brother (Coppola's then-newcomer nephew, Nicolas Cage) from the deadly temper of mob boss "Dutch" Schultz (James Remar). Bob Hoskins and Fred Gwynne also score big in grand supporting roles, but The Cotton Club is perhaps best appreciated for its meticulous recreation of Harlem's Cotton Club heyday, and the brilliant music (Ellington, Calloway, etc.) that brought rhythm to gangland's rat-a-tat-tat. --Jeff Shannon, Amazon.com

Synopsis
Beautiful music and striking dance performances are the highlight of Francis Ford Coppola's musical/mobster flick centered around the legendary Harlem nightclub. The club's black dancers and musicians entertain the exclusively white audience made up of gangsters and Hollywood stars. Local boy Dixie Dwyer (Richard Gere) saves the life of crime boss Dutch Schultz (James Remar) and reluctantly enters the world of racketeering. Talented tap dancer Sandman Williams (Gregory Hines) struggles to get ahead in the segregated world of 1920s nightlife. Authentic costuming and sets help make THE COTTON CLUB a stylistic homage to the Jazz Age and gangster films of old.