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When You’re Strange

Copyright ©,  Elektra Records

L-R: Jim Morrison, John Densmore, Robby Krieger, Ray Manzarek. Photo Credit: Courtesy of Elektra Records

Unquestionably, The Doors have influenced countless rock bands. As much as the director, Tom DiCillo, attempts to convince us of Jim Morrison’s calculated genius in a film comprised entirely of archival footage, it becomes evident that the iconic lead vocalist is anything but Machiavellian—let alone organized in his thoughts. Instead, whether intended or not, this documentary makes a better argument for drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek—all talented, schooled musicians who knew precisely where to let the notes fall, cushioning the often delirious Morrison. Producer Paul Rothchild and sound engineer Bruce Botnick also played key roles in the band’s success. Morrison’s experimental rants, not unlike those of Godard and other innovators of the period, are accidental genius.

Our narrator, Johnny Depp, takes us through the history of The Doors and their brief, six-year burn—from their formation in 1965 to Jim Morrison’s death in 1971. Manzarek and Densmore met Morrison at Venice Beach while he was writing lyrics, and pulled the band’s name from the Aldous Huxley novel, The Doors of Perception (Huxley’s title itself taken from a William Blake poem). By 1966, the band was playing The London Fog (note: Mr. Depp’s bar, The Viper Room, once doubled for the Fog in Oliver Stone’s 1991 biopic, The Doors) and the famous Whisky A Go-Go. The first half of the film is spent rehashing mostly common knowledge of the band. The timeline voice-overs drag on for an hour before the film wades into deeper, muddier waters.

When You’re Strange wobbles in the transition from straightforward biography to op-ed with teeth. At times, the editor doesn’t seem to know what to do with the uncovered footage, or there isn’t enough to string it into a visual narrative. However, the director takes us into Morrison’s escalating dependency, beginning around 1968 when The Who was the band’s opening act. While Manzarek and Krieger have acknowledged LSD use, it was Morrison’s alcohol addiction that sent the band reeling. Somehow, they managed to squeeze out The Soft Parade, in 1969, just before their lives began to spin apart. The album achieved their greatest critical acclaim, and was the last to employ Rothchild’s ear. Not long thereafter, Morrison saw The Living Theater, and this altered his outlook significantly. Some argue that he became an anarchist. Others claim he was echoing the surrealist poets.

Fans maintain that his esoteric stage antics and flouting of authority which followed was, in fact, enlightenment. But critics generally agree that they passed their creative peak. The director attempts to link it all together through pristine sequences of Morrison cruising the desert in his black Shelby Mustang (from Doors’ photographer Paul Ferrara’s 1969 film, HWY: An American Pastoral). However, we only digest bits and pieces of this Jim Morrison—miles away from the media and fan attention that fed into his ego. As a recurring motif, it never connects with his public persona, but it shows us at least that the man wasn’t the boisterous fool Oliver Stone made him out to be. He can make a kind, gentle gesture to a coyote dying on the highway, or to a fan who’s been bludgeoned with a chair. When he isn’t on stage, he treats others as equals.

It’s here where the film succeeds in completing its primary argument: Jim Morrison, as repetitive and monosyllabic his banal lyrics may have been, had the capacity for treating people with respect, but failed to respect himself by spiraling into alcohol and eventually cocaine abuse.


When You’re Strange • Dolby® Digital surround sound in select theatres • Aspect Ratio: 1.85:1 • Running Time: 90 minutes • MPAA Rating: R for some sexual content including references, nudity, drug material and language. • Distributed by Rhino Entertainment

Dolby and the double-D symbol are registered trademarks of Dolby Laboratories.

Comments

  1. Boswell says:

    You’re right about the doc: nothing new here, nothing revelatory. You’re wrong about the band:

    Strange days have found us
    Strange days have tracked us down
    They’re going to destroy our casual joys
    We shall go on playing or find a new town

    Strange eyes fill strange rooms
    Voices will signal their tired end
    The hostess is grinning
    Her guests sleep from sinning
    Hear me talk of sin & you know this is it

    Strange days have found us
    And through their strange hours we linger alone
    Bodies confused, memories misused
    As we run from the day to a strange night of stone

    These are neither banal nor monosyllabic. This is only one of a hundred examples of a band & a man who wrote almost entirely unlike their contemporaries or their species. Lennon may have been the Walrus but Jim Morrison was a man from a deeper tradition.
    The Doors were a powerhouse of American jazz, blues, classical & pop sensibility with a lead singer who had a deep understanding of the written word & the lyric. It’s time to actually talk about the art. If the Doors are nothing but a rock group, if Morrison is just another social misfit who didn’t really understand who he was or what he was doing then he’s not worth the effort to understand. But there’s so much more to the music they made . . . & it’s much more complex & rich than even the surviving members & all these biographers can imagine. When You’re Strange is another bad take on a band this has never been explained or represented with understanding & accuracy. The Doors are THE great American rock band of the 20th century. I don’t think the director realizes this.

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