July 6, 2010, 7:03 p.m. CST
.....of fucking slaves.
July 6, 2010, 7:06 p.m. CST
...........that's what the lizard king told me.
July 6, 2010, 7:11 p.m. CST
....to be ray, john and robby. because no one really gives a fuck about you, unless it's to ask you "so what was jim REALLY like?"
July 6, 2010, 7:13 p.m. CST
by Bronx Cheer
Not only did the song nail the period of the scene between Blair Brown and William Hurt, but the contrast of the fire imagery in the song against the artificiality of the heat lamp in that setting (which felt like the only light source) created a theme that to me runs through the entire film. Nature vs. Artifice, Natural Law vs. Man's Manipulation of "God's Will." And it made me want to go listen to that first Doors album as soon as I got home from the theater.
July 6, 2010, 7:20 p.m. CST
the into to the Lost Boys ("People are Strange" covered by Echo & the Bunnymen) as the camera pans over Santa Carla for the first time and we see all the missing persons ads. Not only was this movies one of the first R-rated movies I saw, it was the first in a long line of vampire hunting movies I absolutely loved (back when we killed vampires...instead of had glittery angsty crushes on them). While I could talk about The Lost Boys for an absurdly long time (the awesomeness of a young Keifer Sutherland and Jason Patric, the first time Coreys Haim and Feldman were together, etc.), this was also my first introduction to the music of the Doors. Years later, when I was actually old enough to better appreciate music, I recognized the real version of this song and was able to latch onto it because of my prior associations with the song, opening a window for a greater appreciation of more of the Doors' music.
July 6, 2010, 7:20 p.m. CST
This is one of the most difficult and yet one of the simplest answers to come up with. There is of course Coppola's iconic use of "The End" to begin Apocalypse Now. Mixed in amid sounds of helicopter blades and layered visuals, the song gives the viewer an instant "door" into Martin Sheen's head. Obviously, this is my favorite use of the Doors in a film, but it seems to me a bit cliche to say it is the best use. I think it's also kind of ridiculous to nominate Stone's "The Doors", simply because it's a movie about the band, and therefore, kind of ridiculous. So, I am going to throw out there the use of "Moonlight Drive" in the classic road film Two Lane Blacktop. The first time I saw Two Lane Blacktop was at a 16mm screening in the oldest theater (not movie theater, real theater) in my hometown, and despite the fact that the film was anamorphic and was projected through a non anamorphic lens, I still enjoyed. So there you have it. I vote for Two Lane Blacktop.
July 6, 2010, 7:32 p.m. CST
I think AdamL just won it. I cant top that.
July 6, 2010, 7:34 p.m. CST
Not only is it the most affective, it is the most revealing and the most revolutionary. The song sets the tone for what is arguably the most hauntingly beautiful pieces of work from one of the most influential directors of all time. It revealed the heart of a song that was as controversial as its Singer by bringing forth the very most oedipal lyrics never heard before by mainstream audiences. Finally, it was the first and bravest use of any doors song and introduced a whole new generation to their music. Basic bottom line. End of story. The End.
July 6, 2010, 7:37 p.m. CST
by THE TRUE PINBACK
I have to say that the use of THE END during the main title sequence of APOCALYPSE NOW...and later in the film as well...was truly inspired. This song was not only from the Vietnam era, but the haunting lyrics and melodies were used to great effect to not only bring a sense of dread to the film's opening, but to also lend the film an immediate sense of chaos that truly summed up what was happening not only in Vietnam, but in the good ol' US of A at the time. It was almost as if that song and Coppola's cinematic vision of the napalm strike in the jungle were completely meant for each other. It was not only visually awe-inspiring, but eerie and haunting as well. I often wondered if Martin Sheen's Willard was thinking about that song as he pondered his no-win mission. I bet that somewhere Jim Morrison was smiling when he saw it...
July 6, 2010, 7:42 p.m. CST
I must differ with AdamL above: the best use of a Doors song in a film certainly IS "The End" from "Apocalypse Now." This is not only due to its unsurpassed mood-setting at the opening of the film (helicopter blades > ceiling fan, detonating palm trees, Sheen's mirror-smash yielding real blood, it's all utterly unforgettable). It's also because of how the song is reprised at the disturbing, confounding climax, when the sex-mad violence of the song (heard, thanks to engineer Bruce Botnick -- for the first time anywhere outside of the Doors' own archives -- in its uncensored version with Jim Morrison hissing "fuck" 20 times or so) reaches its pinnacle with the sacrifice of a real cow and the long-awaited killing of Brando's Colonel Kurtz, completing Sheen-as-Willard's benediction in blood. What's more, it was Coppola's use of this song which revived popular interest in the dormant band, followed by the Doors' first proper Greatest Hits collection in 1980. The rest is Classic Rock History.
July 6, 2010, 7:46 p.m. CST
For multiple reasons, but the main is the sheer feat of sound editing. The helicopter blades building with the song then into the blades of the ceiling fan. AdamL is right- it is iconic and deserving of all praise. The napalm lighting up the screen before Morrison's vocals begin to slowly build within the song. Couple this with images of Martin Sheen breaking apart symbolized finally by him breaking the mirror. Absolutely perfect use of the film. Morrison's intentions are nicely paralleled to both the film and its origins in Heart of Darkness
July 6, 2010, 7:51 p.m. CST
While I pretty much agree with what's being said above, I think that I will make a case for another film. While I might be mocked for my argument, I feel as though if I simply re-post my thoughts on "Apocalypse Now"/"The End", it will become white noise, because I can't put it any more eloquently than any of you. I will argue for the use of "Touch Me" in the 2003 film "School Of Rock". Not a great film by any means, but a fun one, particularly if you're a twelve-year-old music student at the time of release. When the kids who play rock instruments are learning how to play the style, some of them are shown iconic riffs/moves to introduce them to the genre (see, "Smoke On The Water"/guitar). What song does the burgeoning young keyboardist learn? "Touch Me", by The Doors. There are tons of great keyboard riffs in the history of music; there is only one that is deemed both complex enough to challenge the kid to play his best, and recognizable enough so that the audience knows what it is. That is "Touch Me". The look of satisfaction on the faces of both teacher and student as he pounds out the syncopated rhythm show that this song has had a positive effect on his development as a musician. I nominate it thusly.
July 6, 2010, 7:52 p.m. CST
It was a movie from a different Italian American director, Martin Scorsese, and he used it 11 or 12 years before Coppola.<P> Although only a student film, WHO'S THAT KNOCKING ON MY DOOR captured the era, featuring a spry Harvey Keitel and very naked, and gorgeous Zina Bethune in a love scene. Black and white, and youthful, showing Scorsese's promise as the camera circles the room. The iconic scene was also made into the films poster.<P> Coppola's was more famous and used a different version, but this movie about catholic guilt and turmoil in a relationship due to the fact Harvey Keitel's character couldn't forgive his girlfriend for being raped is a better fit for the song that Morrison wrote about a break up which spirals into violent territory.
July 6, 2010, 7:54 p.m. CST
I can't help but think about Val Kilmer on SNL playing Jim Morrison in heaven singing "Break on through to the other side, not that side the adjacent side" with his all star line up in heaven-- Was the band called The Frogs? Who else was in it? Jimi, Janis??
July 6, 2010, 8:03 p.m. CST
"Peace Frog" in Water Boy as the camera cranes down to the football field at one of the first practices Bobby has. I think of this because I'm cooking jambalaya now and because somebody already got Two Lane Blacktop. Man that movie rules. Alright, I'm going to go skin a gator now.
July 6, 2010, 8:14 p.m. CST
I've watched Oliver Stone's film many, many times, and though it has it's faults it never fails to grab me for its 2+ hour ride. My particular favorite use of Doors music is at the very beginning when we see the band– not just JM– working through Light My Fire. For the first time, we see all four musicians at the beginning of their journey. The focus is refreshingly on the band, not just on JM. We get to see Robbie introduce the song in its protean form. We see John instantly drop in the spot-on rhythm. We see Jim, who history portrays as a self-confident, self-destructive Dionysus, unsure of his footing and exploring the phrasing. And we see Ray as he methodically distills the melody to produce the strongest opening organ riff ever and one of the most memorable song openings in rock history. And it all comes together in that moment when Kyle MacLachlan's Ray Manzarek yells "I got it, man", John counts down with his sticks– one, two, three, CUT TO: LA, Sunset Strip, 6 mos later. God I love that moment. It's one of those moments in reality-based film that you know isn't true but you wish it were. What a time and place, and what a band.
July 6, 2010, 8:17 p.m. CST
http://tinyurl.com/24f8dzx <P> You'll notice the film looks as rough as the song sounds at first, and the vocals kick in just as we get the first reveal of the naked female form.
July 6, 2010, 8:19 p.m. CST
The sequence is when Tony's band (an amalgamation of various sixties influences) is getting really successful and seemingly leaving him behind. It's a bit of a cheat I suppose, being a montage, but the imagery present is unforgettable. Especially the Russian roulette ending.
July 6, 2010, 8:25 p.m. CST
From the Lost Boys, <p> It set the tempo of the film, from the credits rolling showing all the exotic and creepy looking people that wandered the board walk of Santa Carla (which was during the day!) <p> To the end scene after the house is totaled and Vampire carnage is everywhere and grandpa casually walking in and going to the fridge, spewing after a drink of root beer <p> " One thing about living in Santa Carla, I never could stomach, all the damn vampires." <p> Fade out with Jimmie telling you how strange everybody is <p> For me it was very effective and very memorable.
July 6, 2010, 8:36 p.m. CST
They really relate to the film in a way no other usage of the material has.
July 6, 2010, 8:36 p.m. CST
Peace Frog - The Waterboy Cause everyones will pick apocalypse now
July 6, 2010, 8:41 p.m. CST
Ok, so that movie sucked when he wasn't on the island...but that was a badass plane crash and watching Hanks make the movie interesting with no one else on screen was awesome...I felt riveted watching him trying to make fire, his eyes conveying how important this was to any chance of survival...When he finally gets the fire going(using a method that all of us would find damn near impossible), he's as ecstatic as any of us would be...dancing around the fire singing "Light My Fire". That was the perfect song to sing, and the most fitting use of a Doors song in a movie because it was "honest"...
July 6, 2010, 8:44 p.m. CST
If tv counts, then I nominate 'Riders on the Storm' from Season 3 Episode 1 (The Gang Finds A Dumpster Baby) of It's Always Sunny in Philadelphia. Throughout the episode you follow Charlie and Frank's slow descent into the dredges as they collect more and more garbage. You also watch as Dennis enacts a slowly illuminating diabolical plan to screw over a douche who insulted him earlier in the episode, at such a pace that you're not quite sure what he's up to or where he's going with it. He slowly rips this guy to pieces. The song played at the end during the culmination of the two main plot points. The lyrics, chilling music of the storm, and background music perfectly fit both points. The culmination of the Charlie and Frank plots ends when they themselves become the garbage they sought, discussing whether or not Frank is Charlie's dad and abandoned him much like the dumpster baby found earlier in the episode. Dennis's plot ends with his final act against the antagonist. He manages to persuade the douche to voluntarily (and ultimately pointlessly) submit himself to a grueling night chained to a tree in a storm while Dennis screws his girlfriend. The look on his face during the sex scene is priceless. Everything just comes to a head. The juxtaposition of this song against both scenes, intercut back and forth, manages to perfectly sum up the storm that was brewing over the episode and the awfulness that the characters find themselves in. All with a real storm was taking place was a nice touch as well. This is one of my favorite episodes primarily because of how well I think this song fits everything going on in the episode.
July 6, 2010, 8:44 p.m. CST
by Evil Chicken
"People Are Strange" and "Break On Through (To The Other Side) from "Forrest Gump". Why? Because I loves me some Forrest Gump.
July 6, 2010, 8:48 p.m. CST
Well, I’m a huge fan of The Doors, just saw Manzarek and Kreiger in Richmond last September. Also a huge fan of movies, so this should be right up my alley, but... it's a hard call. I'll lead off by disposing of the easy ones. The most commonly known usage – and a very, very good one including the reprise - is probably The End in Apocalypse Now. Less commonly known entries might include Robby's work on the Lost Boys (he worked with Echo & The Bunnymen on that particular rendition of People Are Strange) and personal favorites like Peace Frog that have been relegated to misuse in movies like The Waterboy. I'm also going to ditch some popular covers like Aerosmith's cover of Love Me Two Times from Air America. The classic Roadhouse Blues hasn't really been used in a movie to my knowledge, what a pity. I think I heard something from The Doors in Knight & Day, but I can't swear to that mostly because it feels like Tom Cruise gave me a knockout drop somewhere in that movie, so that's off the list. I’m also pre-emptively denying use of the music of The Doors on movies about The Doors because that’s kind of a given. School of Rock’s use of Touch Me is also being disposed of because it was largely gratuitous (so was the movie, but it had some moments). Similarly, the movie Castaway didn’t really light my fire and use of Light My Fire there did nothing to improve the situation. Break on Through to the Other Side in Forrest Gump is a serious contender. It is in very good company in the overall soundtrack, but the movie has never really been a favorite of mine. Still, this is the best one I can think of right now. I’ll have to do some digging because I’m sure there will be some serious competition for this contest. Well, worst case, I’ve at least provided others something to pick at. Cheers!
July 6, 2010, 8:49 p.m. CST
by Nice Marmot
Apocalypse Now is definitely the best in my mind. Gotta love the intro to Stone's Doors w/ Riders on the Storm. Dead Indians on the highway. Isn't that someone's cover of People are Strange in The Lost Boys?
July 6, 2010, 8:51 p.m. CST
My vote goes to havok2063 and Dumpster Baby, well played sir.
July 6, 2010, 9:06 p.m. CST
Not at all impressed with my post. Did it from my phone. Oh well.
July 6, 2010, 9:11 p.m. CST
I felt 'Love Her Madly' hit the right note (!) at the right place when Jenny was leaving her drugged up/brutal boyfriend. There are few groups whose music is so associated with an era...Doors = late 60s, early 70s...Beach Boys? Jan and Dean? the Rascals? I think it makes a big difference when you grew up with these guys and their music (which I did). The Doors were something new, something that seemed more 'Adult', something that made us look at things a bit more critical...part of it was the times and what was happening and for those that didn't live it, Forrest Gump gives a pretty good taste of what went on and how people felt at the time (ok, in general terms). In the mid-70s I took a class on the Doors and their music...they were already that deeply etched into culture of that era (geez I feel old now!). But you know you've made your mark when 40 years later your music is still instantly recognizable and used in the movies. And it doesn't hurt when they were your favorite group anyway...
July 6, 2010, 9:15 p.m. CST
Is that it has numerous Doors songs in it...I believe there are even a few in the movie that are not on the soundtrack for a total of 3 or 4...
July 6, 2010, 9:25 p.m. CST
used Doors songs as the soundtrack for the all flashbacks.
July 6, 2010, 9:40 p.m. CST
Not only was the song "Riders on the Storm" so out of place in the scene in Basketball Diaries it fit so perfect. Why? Well, the whole scene was about being out of place. They could have used any number of doors songs that might have fit better, but once the rain sound effects started you had to step back and go, "what the fuck?" It made you feel disjointed and out of place like they felt. Every part of the scene was about feeling out of place. Sure "The End" works for "Apocalypse Now" and you could say that for "The Lost Boys", "Less Then Zero", or "Altered States", but taking the song and placing it in a scene to make you feel disjointed and out of place like that is so perfect for the scene that even if a hundred other songs would be better, it just doesn't fit in the same way or would have the same effect.
July 6, 2010, 9:56 p.m. CST
I first saw this movie when I was 12 years old and just beggining to learn guitar. I loved the movie and especially loved the scene where Dewey is getting the kids on their respective instruments, namely Katie the bassist and Lawrence the keyboardist. I didn't see the movie again until I was 16. At that point I had begun playing in a few local bands on various instruments. Playing in bands affected my life as a whole by bringing out a side of me that I didn't know existed. Until I started getting into music, I was extremely quiet, extremely reserved, and had no confidence in myself. Seeing the movie again, I still love Lawrence playing The Doors on his keyboard most because it's something I identified with. I love seeing the quiet, nerdy kid cut loose on my favorite Doors song.
July 6, 2010, 9:57 p.m. CST
Hadn't read any posts before I made mine but yeah, you pretty much nailed it regarding School of Rock.
July 6, 2010, 10 p.m. CST
No shit dude, I was at that show! The one at the National, I assume?
July 6, 2010, 10:18 p.m. CST
If its your favorite fucking song you should know the fucking title. the Doors never wrote a song called Touch Me Baby.
July 6, 2010, 10:30 p.m. CST
The scariest usage of a song by the Doors has to be "Hello, I love you" in Casualties of War. The juxtaposition of the emotion of the song to what happens in that film is just terrifying, and true genius - only Brian De Palma could do that to us!
July 6, 2010, 10:30 p.m. CST
by Drunken Busboy
"Apocalypse Now - The End" would seem to be the quick choice but let's face it The Doors music was written for that time. While the use of "People Are Strange" in the movie The Lost Boys gave a very new meaning to the song and made the movie that even more creepier & spooky which is saying a lot since it was a Feldman/Haim flick! ;) All kidding aside that song helped give a cool spooky vibe to the entire flick. That's my Two Cents!
July 6, 2010, 10:39 p.m. CST
The multiple uses of "The End" throughout the run of the Simpsons can't go without mentioning...
July 6, 2010, 10:40 p.m. CST
was there anything that got your blood flowin' better than the "Break On Through" crescendo as Mike Wasowski comes bombin through the hallway doors in the original MONSTERS INC. Trailer!? http://www.traileraddict.com/trailer/monsters-inc/trailer BLISS! you forget that at this time after the only Pixar forray into non Toy Story related love was the mildly disappointing Bugs Life. This trailer for Monsters Inc. specifically the use of that song was what had me foaming at the mouth for more. thanks in advance for the new bluRay
July 6, 2010, 10:42 p.m. CST
I would argue (as I have elsewhere with film friends) that The End in Apocalypse Now is the best use of a Doors song in any movie. Oh, some ave said it already, but here is my take on it all. First, on the practical level, we all know that this is a classic moment in cinema where rock and film came together in a legendary coupling that introduced a great many people to the music and ideas of The Doors. I don't believe that any other Doors song has ever had such an historic impact on drawing people's interest towards The Doors (as well as getting people to study the Vietnam war, 60's culture, religion, and more). This is a very powerful combination. I seriously doubt that any other song of The Doors coupled with film, has ever had such an impact on culture. And how many of us sat around with friends, got high and watched Apocalypse Now? In the 80's, having this on video was essential. And how many of us got this film on dvd and did the same thing many years later?! I don't care what other songs from The Doors you can come up with in films, none of them have ever really been treated with such classic cult status as The End and Apocalypse Now. I can't speak for your crowd, but for mine, Apocalypse Now, The Doors, and a doing bong hits, whether alone or with friends, became an experience that was truly engrossing and enlightening. It continues to be a tribal viewing experience for some who still have the time and such interest. But there are so many other merits as well. The End and the footage used along with it in Apocalypse Now, really are incredible representations of the ideas and feelings of that generation. The editing together of Martin Sheen's acting and narration, and the incredible song The End, becomes more than just a film with music, they became a symbiosis of what The Doors were about. It's all there in what is certainly one of the greatest openings of any film in history. And it truly is one of the most remembered visual representations of The Doors all time. This particular combination has itself become a Doors moment itself, as powerful as some of the classic photo's and performances by The Doors themselves. An inner journey into the mind, a contemplation of the inevitability of death, a celebration of fragility of life, contemplation of religion, of war, of everything, of nothing. It is cerebral, but not so much so that it is unapproachable by the uninitiated. It draws everyone in, no matter. All through the eyes of an unpretentious viewer Martin Sheen, considering his own involvement and place in it. I think the beauty of this song, and this film coming together, is that there are practically endless possibilities that can be gleaned from the combination. I could probably write a thesis on it if I had more time. But that's it for now. I already have the When Your're Strange dvd. The film poster would be cool for sure, But I'm mainly arguing this because it is what I believe and I'd just like it out there for the damn record. I may try to stop back in and see what's up. Later, Lorn.
July 6, 2010, 10:50 p.m. CST
Sets up the movie perfectly: outsiders, ugly faces, wicked women, and coastal California. You know you're in for a good time the second that song kicks in.
July 6, 2010, 11:04 p.m. CST
by Bronx Cheer
While I think Apocalypse Now is one of the best films of its time, and while I loved the use of The End during that exquisite sequence choreographed by blade and blood, I have long felt Coppola made the wrong choice. I would much prefer to have that sequence in silence. Giving it a soundtrack diminishes the power of both the scene and the song.
July 6, 2010, 11:09 p.m. CST
The scene where Vic (Dan Aykroyd) is making "pasta" from 'Caesar's Garlic Wars" in his house listening to "Hello, I Love You", all the while Earl (Belushi) is watching him...every time it reaches the point in the song that Aykroyd bends back then stoops forward and combs his hair, never stops making me laugh. Now if it were only on dvd....
July 6, 2010, 11:10 p.m. CST
My choice would be the use of the The Door’s “The End” in the film “Apocalypse Now.” First and foremost, I’ve been a huge Doors fan since my childhood. I would consider them one of my favorite bands of all time. Also since childhood, I have had an affinity for war films. Something about them took me out of my comfortable, rural, small town way of life and into another universe of more extreme possibilities. The heroism, courage, and possibility of being involved in something greater than one’s self was captivating. At the same time, strangely captivating was the utter pitch-black darkness of death, depravity, and inhuman violence. When I first saw the film Apocalypse Now at the age of 12, I began to understand this dichotomy of war for the first time. I recall my eyes being in a strong fixation, and felt like I was pulled into a dream-like hell with the characters. Watching this film is like watching a psychedelic trip into another world where the dignity of a human life is broken down into fragments of its former self, and left for dead in a cold ditch on the side of the road. The story of man’s extraordinary transformation, for better or worse, into a new identity he must occupy in order to survive in remarkable circumstances. The opening scene of Apocalypse Now stands, in my mind, as one of the most memorable I have seen in film. The film’s slow buildup is like a psychedelic haze of hallucinations unfolding in your mind. What we see initially as jungle tree line below a quiet, peaceful horizon becomes mangled into a burning inferno of destruction as Jim Morrison’s commanding vocal begins: “This is the End beautiful friend The End.” We begin to see Martin Sheen’s face in a deep contemplative gaze looking up, as it’s juxtaposed with the helicopter wreaking destruction across the burning jungle landscape. The lyrics continue: “Desperately in need...of some...stranger's hand In a...desperate land Lost in a Roman...wilderness of pain And all the children are insane” Beyond the sheer visual and auditory power of these scenes, there is a deeper connection. The Doors “The End” was released in 1967 on their first album. The Vietnam War had begun escalating under the Lyndon B. Johnson administration during the years 1963-1969. Many say that they listened to such music as The Doors while in Vietnam through pirate rock radio stations. Many even heard the Doors for the first time in Vietnam. I believe one of these people was Oliver Stone, the director of “The Doors” film, if I remember correctly. I do know that, in the least, he remembers hearing them in Vietnam, and that it left an impression on him. The lyrics coincide with the feelings of desperation in a desperate land, loneliness, and insanity. Combining with the lyrics is the haunting, psychedelic quality of the slowly brooding and building of the song’s tune, with Jim’s voice resonating as if he were carried off in some trance-like state of dark desperation. Martin Sheen’s character’s empty gaze and hopelessness stand as almost a manifestation of the darkness in the song. For all of these reasons, this song stands as the ultimate use of sound editing to accentuate the visual mood of film. Rarely is such a powerful, symbolic mood captured on film.
July 6, 2010, 11:12 p.m. CST
by Bronx Cheer
One of the key attractions of The End is that it is a very cinematic song. It paints its own pictures, creates its own mise-en-scène. Using it in a film dilutes one of its key strengths. I feel that any filmmaker who uses it is taking a shortcut, even if that happens to be Coppola.
July 6, 2010, 11:21 p.m. CST
Quite simply, The Doors beat Michael Jackson to most the expensive music video ever with "Apocalypse Now" aka "The End". Thriller can kiss its ass. There is an opening sequence play through, then its 3 WHOLE HOURS before WHAM, musical reprise PAYOFF at the End of this feature length music video. It's the cinematic/musical cocktease of the century. It must also be the only music video with the longest gestation period, with its own director's cut and redux. It even has books(!!) written about it! Both after and before it was ever filmed. THERE COULD BE NO OTHER BETTER USE, TRIBUTE or RENDERING. 2nd best use is of course "She Lives on Love Street" from Oliver Stone's "The Doors". Cos, we see she actually DOES have a house AND , get this, a garden, and, AND he actually goes there... sometime. Praise be to Oliver Stone for such CINEMATIC GENIUS and LITERALISM!!11 I salute you. Long live the Zone. That is all.
July 6, 2010, 11:22 p.m. CST
I understand your reasoning, The End is a song that even Jim himself said was so visual that it could have different meanings to different people, and that it's meaning to him even changed over time. But, I believe that few films could possess the dark imagery and power of Apocalypse Now that could be so well suited for this song. Not only lyrically, but musically with it's dark psychedelic build-up. To me, Apocalypse Now is a kind of psychedelic, dream-like, dark build up of a movie in it's self. There are no other songs I could imagine that would have fit this scene so well. I also don't think pure silence would have worked as well. Sometimes less is more, but I don't believe it would have been in this case.
July 6, 2010, 11:27 p.m. CST
July 6, 2010, 11:50 p.m. CST
"Less Thab Zero". The ending of the song describes a drowning. And, at that point of the picture, that is what's happening. Vapid, nihilistic LA youth drowning in a swirling sea of excess. A dead man's party with a roomful of televisions. Capitalism, MTV, the vast wasteland. And a girl with a cocaine nose bleed dead-panning about her "rusty pipes". "Gonna get real tight/Baby gonna drown tonight/Goin' down, down, down..."
July 6, 2010, 11:51 p.m. CST
Less Than Zero
July 6, 2010, 11:59 p.m. CST
...but not in APOCALYPSE NOW. I really felt it was captured best in the Oliver Stone film, beginning with the hallucinatory sequence and smoothly transitioning to the live performance. It perfectly captured the hypnotic spell. But...and most importantly for me...it perfectly recreated both my memory and impression of the live performance I saw back in the late 60s. The Doors live was the first concert I ever went to. And I can easily remember Morrison's explosion when he got to "Mother..." Seeing Morrison writhing on stage wrapped in the microphone cable was almost as shocking to me as a kid then as Alice Cooper was later. Or Ozzy Osborne, or whoever the current rave is. Manzarek's organ swirling, drums flailing, a cacophony of sound and fury signifying SOMETHING! While I admit that it's possible there were some artificial additives that enhanced the experience, it was one that I never forgot and always carried with me in memory. I felt it was reproduced as authentically as I could hope for in the film. It brought me back to that real-life moment as well as any time machine could. And for that, my gratitude to all involved.
July 7, 2010, 12:11 a.m. CST
I have a copy of the APOCALYPSE NOW workprint, which is nearly ALL Doors music. And, as much as I respect how it was used in APOCALYPSE, as well as the mood and what was foreshadowed via THE END, none of it ever communicated the essence of the song as well as that sequence in the Stone movie. BUT...honorable mention to CRYSTAL SHIP in the X-FILES movie. It wasn't The Doors (I think it may have been John & Exene Doe's group X) but it was still Doorts music and pretty evocative, as I recall. I know HORSE LATITUDES was used in a film with moody results...just can't remember the movie!
July 7, 2010, 12:23 a.m. CST
I can't argue with so many of the entries because they are all noteworthy, still, to this day, I can't get past the opening and closing of The Lost Boys. Since seeing that film in my teens, that opening since of all the oddball people you would encounter on the boardwalk in "Santa Carla" with Morrison's lyrics, is awesome. All of the missing persons ads everyone, all the "faces", what a strange world we are about to enter as and outsider, the song was made to go to that film. It's about being different and an outsider and that is how Jim Morrison thought of himself, on the outside, strange, different, looking in
July 7, 2010, 12:52 a.m. CST
by Star Hump
There's your winner.
July 7, 2010, 2:17 a.m. CST
For me, the perfect Doors music moment in film is in the Oliver Stone Doors movie. It's when Morrison and Manzerek meet up on the beach and Morrison sings a snippet of "Moonlight Drive." Here we see how great bands often form. One person's drive meets another's creative spark. We see the shy, human that is Jim Morrison, not the "Lizard King" that he is doomed to become. Even if it's a bit of fiction, it's a great use of the music. In a few simple bars sung a capella, we see the potential of Jim's creative mind and it breaks our heart because we know just how doomed he really is. The moonlight in the lyric seems to overwhelm the brightness of the sunny beach as we sense the potential future along with Manzerek, yet WE know just how it turns out...
July 7, 2010, 2:25 a.m. CST
I think the greatest use of The Doors music was by Oliver Stone to help write his screenplay the break which eventually become Platoon. The script was so heavily influence by their music that he sent the script to Jim Morrison in the hope he would play the lead. It was watching Platoon and Apocalypse now that first got me into the doors music as a child and I'm always thankful.
July 7, 2010, 3:02 a.m. CST
It captures the freaky town vibe down to the vampire tribe. It cuts through the screen like a knife and makes you scared for your life.
July 7, 2010, 3:02 a.m. CST
The 330-minute workprint version of "Apocalypse Now" opens with something special when The Doors' 'The End' is played in it's entirety, complete with Willard (Martin Sheen) beating the crap out of his Vietnamese hooker as he drinks himself into oblivion. In fact, the workprint has an almost-exclusive Doors soundtrack, with 'I Can't See Your Face In My Mind', 'Light My Fire'* and 'People Are Strange' to name a few. As for Kurtz, during the caribou sacrifice, Willard terminates his command to The Doors' 'When The Music's Over' (again in it's entirety) with a single machete chop as Jim Morrison yells the last line "Until the eeennnddd!!!" And that's when the film does end, cutting to black - no leaving the compound, no "the horror", just on that one fatal blow with no credits. It's hard to think that there's 128 minutes of unseen footage here that never made it to DVD or VHS. * 'Light My Fire' appears in a deleted scene on the "Apocalypse Now Redux" DVD, entitled "Monkey Sampan" which was used as a way to represent the whole movie in a three minute scene. This combines footage of natives performing The Doors’ “Light My Fire” in broken English with a haunting chilling sequence in which Willard’s PBR encounters a sampan overrun with monkeys - the singing stops - as they pass on by, Chief notes out loud "That's comin' from where we're going, Captain." The boat then slowly passes the giant tail of a shot down B-52 bomber. The scene is ominous and the noise of engines way up in the sky is heard. Coppola said that he made up for cutting this scene by having the PBR pass under an airplane tail in the final cut. Here's the YouTube link to the 3 minute "Monkey Sampan" scene: http://www.youtube.com/watch?v=KcDyGa2LdkQ&feature=player_embedded or http://tinyurl.com/2depc7j Posters surmise the natives heard LMF on the radio, but "Hearts of Darkness: A Filmmaker's Apocalypse" claims, if I remember correctly, there was a whole scene filmed of Marlon Brando's Kurtz teaching the Montagnard villagers how to sing 'Light My Fire' - now that would get my vote as the "best use of a Door's song in a movie"!
July 7, 2010, 3:06 a.m. CST
I had only heard 'Light My Fire' and 'Break On Through' so far in my life. I had no idea of the darkness & poetry of The Doors until I saw the first four minutes of Apocalypse Now. Martin Sheen smoking a cigarette juxtaposed with images of helicopters & napalm with 'The End' playing. It perfectly set the mood of the film, i.e. the chaos & hopelessness that was happening in Vietnam. I saw this movie when I was 14 and it set me onto a journey into the music & social unrest of the late 60s & early 70s. I've written term papers on the SDS, The Weathermen, & LBJ. I've also painted portraits of Jim Morrison & Jimi Hendrix. Those first four minutes will always be a major influence on me. I've always tried to understand what my father went though serving in Vietnam, and this film helped alot to understand the pscyhe of the American soldiers through it's use of music & chaotic images. It helps that my father gave it his approval. The Doors owe much to Francis Ford Coppola & he owes the brilliance of Apocalypse Now to them.
July 7, 2010, 3:24 a.m. CST
very cool, very very cool.
July 7, 2010, 3:38 a.m. CST
It's gritty. It's authentic. It's a cover? Doesn't matter. It's on hell of an anthem, covered by the Jeff Healey band for the king of cult classic action movies: Roadhouse. Anyone who knows me, knows my affinity for this movie. The script can be glib, the acting horrendous, and the story outlandish- Ben Gazarra is really going to get away with crushing all the cars at a dealership with his monster truck?! This movie fucking oozes cheese, but it also oozes badassness incarnate, perfectly exemplified by the use of the in-house Jeff Healey band providing rockin tunes for a rough crowd. I jumped when I saw this post, because to me, the scene which always sticks out in my mind as exemplifying this movie, is when the Double Deuce band let loose on my favorite Door's song Roadhouse Blues. Its the perfect anthem for a gritty bar full of hard-luck cases, booze and rock and roll. I wasn't alive in the sixties or seventies, and I'm aware of the political, cultural, social significance The Doors hold for many of you. But The Doors to me has always been simply raw emotion in Blues Rock form. They are the animal rage of the misunderstood, the sullen stupor of hangover rising, the sexual lust of man in pure form. And that is exactly why Road House kicks ass! The two go together so perfectly as the Jeff Healey band wails the Roadhouse Blues behind a cage screen, as bottles smash upon the wall, fights break out, with gratuitous pairs of tits galore- all the while Patrick Swayze waits to kick some ass. For myself, the Doors songs I like have always meant the fulfillment of man's more basic urges, Roadhouse Blues is represents the need to keep that fulfillment going stong- and I'll be damned if that's not exactly what the movie Roadhouse is: Raw testosterone, badassness, sex, drugs, and rock and roll in pure indulgent swing!
July 7, 2010, 3:42 a.m. CST
...but since almost everyone seems to think so, I think I´ll go for less obvious choise (Which was the first time I heard The Doors and was completly blown away)! and the song and Film/Tv is Strange Days in an episode of Miami Vice. The episode starts of with Crockett in Vietnam investigating Heroin being smuggled in dead GI´s (long before Am Gangster). Being like 10 years old that episode, filled with a lot of Doors songs, changed my life forever and to this day they are still my favourite band of all time!! Thank U Michael Mann!!!!!
July 7, 2010, 4:03 a.m. CST
Here's the YouTube link to the 3 minute "Monkey Sampan" scene: http://www.youtube.com/watch?v=KcDyGa2LdkQ&feature=player_embedded or http://tinyurl.com/2depc7j
July 7, 2010, 4:04 a.m. CST
I know that it isn´t actually in the movie itself but if you watch the "Making of" on the DVD, there´s an interview where Eric Red tells the story about how he got the inspiration for the story and it was while driving one rainy night and listening to the lyrics of "Riders on the storm". So basically, if The Doors wouldn´t have existed we would still have been treated to such fine films as APOCALYPSE NOW and THE LOST BOYS because let´s be honest, their songs are in no way essential to those films. I think that we would pretty much enjoy these films as much as we do now if those songs weren´t in there in the first place. BUT... without The Doors, no THE HITCHER! And tell me, who of you wants to live in a world where THE HITCHER doesn´t exist (not the remake)? THAT is why this is the greatest use of any The Doors song in the history of movies!
July 7, 2010, 4:11 a.m. CST
That didn't work - Talkback is inserting erroneous blanks, 1 the middle of 'v=', and 1 in 'embedded'. Best to use the alternate http://tinyurl.com/2depc7j
July 7, 2010, 4:14 a.m. CST
There's no escaping Oedipus. "The End" cannot be beat in this contest. Not that you couldn't ably use any other song in their catalog in a cinematic context. I would love to film a pre-dawn foot-chase with "The Changeling" as my score. How about a gang war set to "Not To Touch The Earth"? It's painfully clear in this thread that The Doors have been UNDER-used in film. My sentimental favorite is very brief and subtle, but perfectly used. "Indian Summer" on the rooftop in "The Doors" when Pam reads Jim's poetry for the first time. That song gives me goosebumps every time I hear it. If anyone but myself deserves the prize, I elect JackSlater for introducing me to a brand new interpretation in WHO'S THAT KNOCKING ON MY DOOR. And I think the suggestion that use of "The End" is a cinematic shortcut is an interesting criticism of any who would seek to co-opt what The Doors achieved with that song. That track pinpoints the exact moment that THEATRE was so brilliantly injected into rock music. I love this band MORE than any of the films being discussed; my teenage years were spent devouring their music and Jim's poetry. I believe the BEST example of The Doors' music in film is any and all of their live shows caught on film. Hollywood Bowl, New Haven, Miami etc. Thanks for the invitation to rave about the band. Is Everybody In?
July 7, 2010, 4:51 a.m. CST
I know there are more obscure films to cite but the question was "the best use" and clearly that's Apocalypse Now
July 7, 2010, 5:30 a.m. CST
by Aphex Twin
Yes it's Tom Hanks character doing it solo, but it totally shows the euphoric bliss his character is experiencing as he's trying to be rescued. I couldn't help but think I would have the same reaction creating fire if I were deserted on some lonely island. Then I'd follow it up with a rambunctious version of Jimi's 'Fire' along with a serious jam-session of air guitar.
July 7, 2010, 5:36 a.m. CST
I remember "The End" being played in the intro of Mike Mendez' Killers. It really stuck on my mind, because you can see on screen, what you hear through Morrison's voice, except f****** the mother ;-) It's not the best movie with a Doors song in it, but one of the best combinations of music and image...
July 7, 2010, 6:28 a.m. CST
I actually just watched this 2 days ago and it was fantastic. I always hated the Oliver Stone movie and was glad to see someone do the group right. the tone was set perfectly by the music using all the right songs in all the right spots. i watched this on Netflix streaming and didn't get the interview with George Morrison so would like to see that and would love to see it on this DVD copy ;-}
July 7, 2010, 7:05 a.m. CST
I have been a Doors fan since Spring Break of '92. That was the first time I heard "Roadhouse Blues." I had a very sheltered upbringing and didn't even know who the Doors were. I came home and told my dad about this great song I'd heard that I couldn't get out of my head. He smiled, walked up to his bedroom, then returned moments later with a stack of vinyl Doors albums. I had become a fan of my father's favorite band, and he had never once mentioned the name James Douglas Morrison. Sorry for the anecdote..back to why AdamL is the winner. Moonlight Drive - best Doors song ever recorded. The fact that AdamL picked that song, and quite possibly the most obscure movie ever, makes him the winner hands down. This recommendation is coming from a man whose cat is named Morrison, owns every poetry book Morrison ever wrote, and has a tattoo of his face on his left shoulder blade.
July 7, 2010, 7:25 a.m. CST
most of them have been named or are easily searched for on SoundtrackCollector.com, but i'll site the scene in Wayne's World 2 where Jim Morrison and the naked Indian guy visit Wayne in a dream/vision as a favorite. It's a funny parody of the overblown Val Kilmer version of Jim, and indicative of those times in the early 90's of college age kids getting a renewed passing interest in 60's Psychedelic music (that shirtless poster of Jim was on the wall of every dorm or squalid apartment).
July 7, 2010, 7:59 a.m. CST
I’ll say this not for want of winning, but because this single scene had one of the biggest IMPACTS on my life and has reverberated ever since, and after seeing the title of this thread I pretty much need to write this now, so here goes. When I was around 16 somebody passed me a bootleg copy of Oliver Stone’s ‘The Doors’ (on VHS of course). Around that time I had been slowly getting out of my original love of heavy metal, and had begun experimenting with mind altering drugs (silly boy) and late 60s / early 70s rock. I had a few months earlier seen a late night TV broadcast of ‘Monterey Pop’, and when Pennenbaker’s (or one of his camera crews) lens focussed on Grace Slick, Marty Balin and co perform ‘High Flying Bird’ to a backdrop of typically whacked out oil projection, I was sold. Fast forward to the summer and there I was taking in Stone’s dreamlike, free-roaming vision of Jim Morrisons days, and wow, my head was pinned to the chair. This was everything Id been searching for, it was as if Stone had made this movie just for me alone. Now, I remember this well, and Ive always wondered what happened to this scene, because in the version I was watching at the time, the band played more of ‘Celebration Of The Lizard’ than you see in the version I have at home where we only get to see ‘Not To Touch The Earth’, but that’s for another time, because it’s the NTTTE that I’m here to talk about. The scene takes place in San Fransisco, 1968, and begins with the Morrison character glugging back bourbon as if it was lemonade and swaggering onto the stage as a bizarre but perfect mixture of Han Solo and Johnny Rotten. The crowd are all fired up, Morrison is fired up, and quite frankly, Im fucking fired up as well. In we go with the opening bars of one of the most underrated of all Doors tracks, ‘Not To Touch The Earth’, and the trip begins. At this point in the movie we have Morrison at the height of his abandonment, with one foot in reality and one foot in the grave, and its this one foot in the grave that’s allowing the spirits to commune with him oh so well. That and the acid. This scene is where the characters and the movie reach their lowest and most insane point, the point where you think ‘Ok. Enough now, just stop the fucking car Im getting out, I want my life and my sanity back’, but the car never stops, and each time the musical motif lifts a key, we go deeper and deeper into insanity, with Morrison loving every minute of it, riding the waves as if that’s his sole purpose in life. If I was to change anything about this scene I would get rid of the Indian girl getting her tit out, that cheapens the whole thing for me, but that’s just peanuts in my eyes, and the other nudity in the crowd is perfectly placed in my opinion, but that’s the difference, the Indian girl shyly gets her tit out in a contrived move, whilst the audience tear their fucking clothes off in wild abandon, whipped up into a frenzy by the music. This scene shaped my life in ways that I’ll never be able to fully convey, but I think its fair to say I started that movie as one person and came out the other side as somebody completely different. ‘Not To Touch The Earth’ was a mixture of storytelling, music, film, acting, lighting, art and direction all brought together in one glorious, insane moviegasm that’s stayed with me ever since. Hats off to The Doors, Oliver Stone and Val Kilmer. And if you don’t believe me fucking get your DVD out now and watch it. So there we go, the best use of The Doors music in a movie!!!
July 7, 2010, 8:38 a.m. CST
Not that I cared for the movie at all but the scene where the Jeff Nealy Band played "Roadhouse" behind the chicken fencing getting beer bottles thrown at them always stuck in my mind. Roadhouse being one of my favorite Doors tunes got a updated sound via Jeff Nealy. This also put the song back in the top 100..Ive always wondered what The Doors would sound like when they evolved through the times, This is the closest I will ever come to hearing a new version. Great song,Bad movie
July 7, 2010, 8:39 a.m. CST
Well, I love the cover of "People Are Strange" by Echo and the Bunnymen that was used in "Lost Boys." It buttons both ends of the film, which I thought was a nice touch. There are also all of the shots when you see the poster of Jim Morrison in the lair. Obviously Joel Schumacher enjoyed the Doors or they wouldn't have had such a presence. Now, this is my personal opinion, but maybe just maybe Schumacher felt that Morrison was a "lost boy" in many different ways.
July 7, 2010, 8:45 a.m. CST
I hate to sound like a broken record, but how can it be anything other than Apocalypse Now? The opening scene is great. I remember watching the film with my dad and it grabbed from the beginning as the tree line exploded with the start of Morrison's lyrics. Then the scene with Sheen doing tai chi or whatever in Saigon. But the fact that they brought the song back for the climax is something that really stuck with me. To see him slaughter Kurtz, juxtaposed with the slaughter of the cattle as the band was building the pounding rhythm of the song, that was great.
July 7, 2010, 9:09 a.m. CST
since it was a cover version? probably not. I'll choose 'Who's That Knocking at My Door' as it used 'The End' during a sex scene montage. Oh, and it was Scorsese's debut as a director. Double fuck-yeah!
July 7, 2010, 9:10 a.m. CST
Jenny Curran is stained. Forrest is a clean shiny angel. Jenny needs the attention of bad men. Jenny is low. Used and user. She travels to escape. Forrest is a nurturer. He puts the world before himself. He needs no attention. He's big because he's small. Forrest doesn't travel, he's moved. Jenny is full of guilt and rage. Forrest is hopeful, sensible. They intersected early, and made impressions, but Jenny's impression on Forrest was stronger. For her, he felt obligation and responsibility. Only with her does he seem to recognize the greatness within himself. She would never feel worthy of unconditional love. She would leave him repeatedly. She would leave everyone. She ran, faster than Forrest could ever run. Forrest feels her absence every time she leaves. No one else notices when she goes. Forrest loves her madly. That music plays once, when she leaves a stranger, but it plays for Forrest over and over.
July 7, 2010, 9:33 a.m. CST
In a movie that has this boiling undertone/dream like/sex filled haze, with a possible love triangle between a brother, sister, and a stranger, "The Spy" fits perfectly into The Dreamers directed by Bertolucci. It easily sets the tone for one of the best scenes in the movie, and when the song came on I caught the same chills up my spine, as I did the first time I listened to "The End" while riding the bus home one day from middle school years ago. A great song, placed in the perfect scene, that completely lifts up the quality of the entire movie.
July 7, 2010, 9:38 a.m. CST
that was fuckin incredible! my vote is for you to win, I'm not even gonna try now. I never saw that layer in FG before. thanks.
July 7, 2010, 9:40 a.m. CST
I think that the strongest testament to any piece of music is its longevity not only throughout time, but also across generations and societal groups. It is in this aspect that I believe this should not only be limited to movies, and the use of "The End" as tied into the series finale of Lost is at the top of the charts..... The lyrics speak directly to some of the themes of the show at many points throughout its run --- This is the end, my only friend the end, of our elaborate plans, the end of everything that stands, the end --- But mostly, even after all these years and their undying popularity, use of the song in this context has yet again breathed life into the Doors following..... There is a large population who would not consider themselves Doors fans, who have gone and sought out that song as well as others simply for the impact that it had in the show's finale promos.... Now that is good marketing, and effective placement.
July 7, 2010, 10:12 a.m. CST
I'll vote for this: http://tinyurl.com/27cz678 Although it might bend the rules a bit. I think the juxtaposition of Daryl Hall's Aquanet - soaked Blue Eyed Soul holler and Ray Manzarek's psychotic noodling crerats an ambience so surreal as to lend the entire video a sort of gory car accident for the ears appeal. Now gimme my damn video. . .
July 7, 2010, 10:16 a.m. CST
While it may be intellectually lazy, my favorite use of Doors music in film occurs in the Oliver Stone epic, The Doors. The chaotic, tribal, and visceral performance of "Not to Touch the Earth" was amazing. The crowd was hypnotized, thrashing and swirling about as if in a war dance, led by the Lizard King himself, a whirling dervish of drug-fueled frenzy in leather pants. I had never heard that song before I saw the film, but it, and the other parts of "The Celebration of the Lizard", became one of my top-3 Doors songs of all time. Pure poetry...
July 7, 2010, 10:44 a.m. CST
In The Simpsons episode after Homer bowls a perfect game and has nothing to live for. He starts out singing and walking and you get a fade out, and then you fade back in and it's like five minutes into the song and you realize Homer has been singing the ENTIRE thing. He's reached the creepy talky part, "I took a face from the ancient gallery..." Perfect. Classic. Beautiful. Not technically a movie, but better than all the rest. Even better than The End in the Vernture Bros.
July 7, 2010, 11:02 a.m. CST
None. The Doors music is best used to earmark a particular time in America, not to signify a scene or sequence of film or movie. The use of a Doors song like "People are Strange" in a movie is about as cliche as using Smash Mouth's "All-Star" as part of ending or opening credits. Sure, it sounds good the first time around, but it loses its luster after the first go around. The Doors' music is fluid. It can be interpreted different ways at different times and takes on whole new meanings in the process. That's because of the genius-level instrumentation of Ray, John and Robby and the unparalleled lyrical sense of Jim Morrison. (I fully recognize that the rest of the band also contributed to the lyrics as well.) If a song can change its meaning then it could wreck the scene in which the song is used. The writer and the director of a movie have a particular interpretation in mind when they compile a scene. However, if the song used in the background is supposed to signify some sort of mood, moment or event, then it could run counter to the scene itself if the song changes it's meaning. However, I'm partial to The Jeff Healey Band cover of "Roadhouse Blues" used in "Roadhouse".
July 7, 2010, 11:15 a.m. CST
Da da da
July 7, 2010, 11:29 a.m. CST
"Apocalypse Now" directed by Francis Ford Coppola. It may seem over-the-top to some these days, but the moment Morrison's voice came across the images of green jungles, whirling Hueys, and tremendous fire, it entered into classic status. Image and sound were so organically fused, it was as if Coppola reached his Everest for all to see and hear. The original six-track Dolby stereo enveloped the theater goer with The End in all its power and mystery. Still a resonant memory to this day when first viewed on the big screen and still influential. There doesn't seem to be a sequence on film that is this instantly recognizable by everyone and claiming an ongoing new generation of Doors fans.
July 7, 2010, 11:36 a.m. CST
The End, it was parodied in an episode of The Animaniacs and it literally blew my mind... It was utterly exciting to hear the awesomeness of that song in that cartoon.
July 7, 2010, 11:42 a.m. CST
When I first saw APOCALYPSE NOW I was not aware of THE END. It really seemed to have been written for the film in its perfect fit with the tone and imagery. Thirty-some years later, the fit is still perfect and the power is undiminished. THE END and APOCALYPSE NOW are the ultimate depiction of symbiosis. The film and the song are each powerful and moving on their own. But the combination of the two is exponentially greater, raising both song and film to the status of classics that will be revered for all time.
July 7, 2010, 12:01 p.m. CST
...is to the soundtrack of my life. That's when particular songs truly make an impact. So many wonderful memories inextricably connected to the music of The Doors. I know I won't win, but thanks all the same...
July 7, 2010, 12:02 p.m. CST
Discovering the Doors 20 years ago in college, was an important part of my transition from child to adult -like your first Kubrick film; or a crude attempt at performance art; or better yet...that first girl who turned you inside-out. The whole process of expanding my mind and creativity in art school was informed and encouraged by the message of the Doors' music. "Apocalypse Now" was my introduction...and so, "The End" will always bring to mind those sweaty, blood-spattered images of war and madness. Although, on the surface, the two stories have nothing to do with one another(Willard's Vietnam nightmare and the Oedipal-fueled massacre)...the musical and lyrical poetry evoke the same primal feelings Stone was visually describing in his film. "Apocalypse Now" used the perfect song for the perfect bookend sequences of the film...and in doing so, opened up a world of Doors music to me that I have in my Ipod playlist at all times.
July 7, 2010, 12:41 p.m. CST
Just the desperation of the song and the scene work well together. That and she literally walks out the door as per the lyrics in the song
July 7, 2010, 12:46 p.m. CST
In the true spirit of the song, Forest takes up ping pong as a means of escaping the atrocities of the conflict in Vietnam. Very powerful use of music right there. In truth, I got nothing...The End - Apocalypse Now for the win.
July 7, 2010, 1:16 p.m. CST
All the best uses of Doors song have already been mentioned so I'm swtiching gears a bit. It's gotta be a tie between "I'm Into Something Good" during Frank Drebens date montage in the The Naked Gun, and "I'm Henry The VIII I Am" as sung Patrick Swayze to keep Whoopee awake in Ghost.
July 7, 2010, 1:54 p.m. CST
Ha ha! Sloppy writing right there.
July 7, 2010, 2:06 p.m. CST
StanGrossman, as soon as I read your thread title, Naked Gun popped into my head, so I vote I'm into Something Good."
July 7, 2010, 2:07 p.m. CST
It's pure and simple storytelling through the use of music. The minute we see and hear that version of the song, the concepts of commercialism, greed and corporate sellout is explained in a simple and compelling way. It sums up what can go wrong when art and business crash.
July 7, 2010, 2:10 p.m. CST
The best use of Doors music is "When You're Strange," used during Rodney Mullen's part in Rodney Mullen vs. Daewon Song Round 1. I know it's a skateboarding video, but YouTube it and tell me that it doesn't mesh together perfectly.
July 7, 2010, 2:15 p.m. CST
July 7, 2010, 2:37 p.m. CST
that song fit perfectly in Apocalypse Now, the song and the movie are one in my mind
July 7, 2010, 3:25 p.m. CST
by The Aquarian 1
My favorite use of the Doors music was in a film called CHARMED LIFE made by a friend of mine when he was 17 years old. I guess it was released in 2000, feature length film, shot totally on digital, and features a tracking shot through a restaurant that lasts for the majority of the track "LOVE ME TWO TIMES." Better than the others for my sheer closeness to the material as well as the exuberance and excitement with which that film was made. Shout out to those guys.
July 7, 2010, 3:27 p.m. CST
that soundtrack has 4 Doors songs on it Hello I love You, People are Strange, Soul Kitchen, Break on Through. if you want tv how about Hello I love You in Glee
July 7, 2010, 4:20 p.m. CST
but I'll sell this shit on E-bay when those other 3 fuckers die. Ca-ching.
July 7, 2010, 4:57 p.m. CST
I submit that the best use of Doors music is early in School of Rock when Dewey teaches Lawrence AKA Mr. Cool to play "Touch Me". Watching an ostensibly awkward young man to play from his heart instead of from his mind is so moving and moreover inspiring to me. I think that this scene is the ultimate cinematic celebration of the Doors because it doesn't settle to just play the music to highlight the emotions of the scene. The song is used because of its transformative and inspirational capacity - the song itself advances the story and develops a character by itself.
July 7, 2010, 5:07 p.m. CST
In Jarhead, when a helicopter flies over blasting "Break On Through" and Jake Gyllenhal says "That's Vietnam music. Can't we get our own fucking music?!" One might think this is a sort of homage to the use of "The End" in Apocalypse Now.
July 7, 2010, 5:58 p.m. CST
That there are several people here pulling for The End in Apocalypse Now. There are some great descriptions here. I think mine covered the reasons in the best, widest critical context so far, but we shall see what the ultimate decision is. I would like to address "Bronx Cheer" above who said "One of the key attractions of The End is that it is a very cinematic song. It paints its own pictures, creates its own mise-en-scène. Using it in a film dilutes one of its key strengths." I believe I pointed out something about this in my analysis above, but I will go into it a bit more. Yes, I agree that The End is a very cinematic song that creates its own picture, but I do not believe that that picture is so limiting that it is not open to a vast amount of interpretation. The strength of The End is that within the picture it paints, is an openness to be interpreted in multiple ways. As I said "there are practically endless possibilities that can be gleaned from the combination." And indeed, there are. The imagery and psychedelic nature of the song and the film together brings new ways to interpret the song, including the Oedipus moment, in the context of the Vietnam War. The point is, we watched and listened to this combination together, and whether some of you agree with it or not, we did not see limitations in the song that hurt the symbiosis between song and film. In fact, they where enhanced. Each aspect helped and advanced the other, giving us a spring board in our minds to explore all sorts of possibilities. The imagery of the Buddha statue head placed within the song opposite of Sheen as contemplates was a great moment, of many great moments, that brought the imagination to all sorts of places, and to no place. So, I do not think that the nature of The End is to limit the imagination to a particular interpretation. "Can you picture what will be, so limitless and free". I think it does say some particular things, but within them are many roads that can be taken. And I think the imagery of Apocalypse Now helped us to take some of those roads, and made this a truly Doors moment itself. Again, I think it really is all a matter of history. NO other Doors song and film together has such a classic cult status, nothing else is as legendary. Apocalypse Now, a movie about Vietnam, introduced me and countless others to The Doors, and countless soldiers were introduced to the music of The Doors in Vietnam. That is also an interesting thing to think about as well. Really, I'd love to write a whole paper on this. There are so many ideas, so many "doorways" if you will, that one can go through. This combination was a life changing moment. Not just some neat song in a film.
July 7, 2010, 7:51 p.m. CST
by Star Hump
as rare as a Jim Morrison sighting in this talkback
July 7, 2010, 8:21 p.m. CST
...the neo-sci fi Ralph Fiennes/Juliette Lewis/Tom Sizemore/Angela Basset epic!!!. The film feature several versions of the cover strewn throughout...
July 7, 2010, 8:36 p.m. CST
Scorsese's use of "The End" in his brilliant first feature WHO'S THAT KNOCKING AT MY DOOR. He uses the song in a series of sexual liaisons that Harvey Keitel's character has. Scorsese was forced to shoot sex scenes to get distribution and budget. I feel the use of the song makes the sequences more potent and keeps with the flow of the film.
July 7, 2010, 9:31 p.m. CST
It's pretty clear that the Doors doesn't really work without Jim. He was the "mojo" that made them unique. But during the time they were together there was no way you could have replaced any one of the guys playing the music. It would never have worked. They are all very special individual players, who together created some of the most original rock music ever recorded. So, so far ahead of their time musically.
July 7, 2010, 9:33 p.m. CST
But a bunch of people have already mentioned it.
July 7, 2010, 9:51 p.m. CST
As mentioned by someone else before, I think it's noteworthy to mention that "The End" returns at the conclusion of the film Apocalypse Now. The song slowly starts up again as we see Martin Sheen emerging from the swamp, black and emotionless like some kind of ghostly dark spirit. We hear John Densmore's hard snare hits and tom tom rolls that slowly begin banging in an almost tribal rhythm as we see Martin Sheen's black figure sneaking into Col. Kurtz's compound. As the drums build up and the tempo increases to a furious crescendo of snare crashes and wild rolls, we see Martin Sheen's murder of Kurtz juxtaposed with scenes of the tribal slaughter of a bull. It's very memorable how they pull the song back into the movie in it's conclusion. I can't recall another film that's done this. While not as memorable and gripping as the beginning's use of the song, it's a fitting way to end the film. As The End's lyrics wind down, Morrison bellows, "My only friend, the end. It hurts to set you free But you'll never follow me." Although this last line isn't in the film, it's a symbolic representation of Sheen's attachment to Kurtz. The killing of Kurtz was the end of Sheen's hunt in the jungles and swamps of Vietnam. By setting Kurtz free from his madness and pain in death, he was setting himself free from his own burden: his mission in the broken jungles of Vietnam and his own obsession with Kurtz. Once again, the songs symbolism, taken in context with the film, is a very fitting accompaniment to Sheen's mental state throughout the film.
July 8, 2010, 12:13 a.m. CST
It's the obvious answer and I suspect the final decision will come down to drawing names out of a hat or rolling dice. Every fan of Apocalypse Now has a personal meaning they assign to that song. For me it's the way the song mirrors the setting. A combination of serene beauty and complete chaos interchanged without warning or reason.<P><P><P>But for me there is one thing that stands out and shows just how deeply the movie and the song are intertwined. The song itself just somehow seems incomplete or edited when you listen to it if the thwip thwip sounds of the helicopter rotors aren't there acting as a counter beat to the drums and cymbals.
July 8, 2010, 12:15 a.m. CST
And there I go spelling Apocalypse wrong. I should know better than to post anything here without reading over it 3 times at least.
July 8, 2010, 4:22 a.m. CST
Has to be the end of Apocalypse Now, creating a psychological and crazy scene, showing the true nature of Vietnam. We see Martin Sheen's 'altered' state of mind after experiencing what Vietnam really is.
July 8, 2010, 4:48 a.m. CST
Growing up, I was allowed to watch Apocalypse Now. Fantastic movie that opened my eyes to Vietnam Conflict and the conflict in that area. But it also opened my ears to the Door's music. THE END became a staple on my record player and tape deck. Now, a staple on my Ipod.
July 8, 2010, 11:45 a.m. CST
Doesn't mean it's not right. The obvious and only pick is the use of The End in Apocalypse Now. I remember being 15 when I saw this movie for the first time in one of the airy, wonderful Century Cinema domes in San Jose, Ca. The lights went down and the sound of helicopters whooping slomo through the air started to mix with the first notes of Robby Krieger's snakey intro. Then the supered image of Martin Sheen suspended upside down like the Hanged Man card in a tarot deck. "This is the end, beautiful friend" This was not going to be a run of the mill war movie. I'm a huge fan of using existing music to add dimension to a movie's story, and it is done well only too rarely. I would argue that not only is this the best use of a Doors song in a film, but maybe the best use of a rock music song in a film - ever. The opening sequence sets the tone for this trippy descent into the madness of the Vietnam war and makes you feel deep down in your lizard brain that this journey is an internal one as much as a trip up a river to kill a madman. This is some truly primeval mojo. "He took a face from the ancient gallery and he walked on down the hall" The heroes journey to kill the king, to kill his father, ("Yes, son?") is the stuff of this song and the narrative of the movie and they both work together so seamlessly. The final great montage: Sheen emerging with war paint from the steam of the primordial lake with a machete, the ritual killing of the ox all in time with the wails and yips and grinding beat of the song at the conclusion of the movie is perfect. You might even ask, "Did Coppola dream up this film after reading Conrad, or was sitting on his couch listening to this song the true spark"? What other songs can you say that about?
July 8, 2010, 12:36 p.m. CST
by mr star
The best use of a doors song is in The Doors. I was never a Doors fan growing up, but after seeing The Doors movie, in various states of chemical pollution, I couldnt get enough of them. What Stone did in that movie was offer an open interpretation of the music. He added his vision, which most of us added our own spin on , or used a Doors song to score our own life. At the time this movie came out, I was in an unhappy place in my life(as many 21 year olds are). That movie,and its strategic use of the music, prompted me to drive my ass all the way from my home in NY to Venice beach CA, just to try and walk in the same places these artist did just to score my own memories with a doors sound track.So,my vote goes to the movie itself, just because of the influences it had on my own life.
July 8, 2010, 1:51 p.m. CST
I looked back and realized I accidentally credited Oliver Stone for Apocalypse Now. Doh! Here is my original post...edited: Discovering the Doors 20 years ago in college, was an important part of my transition from child to adult -like your first Kubrick film; or a crude attempt at performance art; or better yet...that first girl who turned you inside-out. The whole process of expanding my mind and creativity in art school was informed and encouraged by the message of the Doors' music. "Apocalypse Now" was my introduction...and so, "The End" will always bring to mind those sweaty, blood-spattered images of war and madness. Although, on the surface, the two stories have nothing to do with one another(Willard's Vietnam nightmare and the Oedipal-fueled massacre)...the musical and lyrical poetry evoke the same primal feelings Coppola was visually describing in his film. "Apocalypse Now" used the perfect song for the perfect bookend sequences of the film...and in doing so, opened up a world of Doors music to me that I have in my Ipod playlist at all times.
July 8, 2010, 3:41 p.m. CST
First, just look at the film itself. Its a masterpiece that has remained unrivaled since its inception. That alone carries a ton of weight. Now look at the scene in question. Not the opening but the scene where Kurtz is killed. The Doors' song "The End" is played in an almost sinister invitation to enter Captain Willard's head. This is the end of Willard's mission, of Kurtz' life, of the lives of so many other soldiers, and of a way of life for Kurtz' band of lunatics. Its the end of the Vietnam war. Its the end of the 60's. This song in this movie signifies the end of so many different iconic images, actions and times that it boggles the mind to imagine that Jim Morrison and Francis Coppola didn't actually work together on the song. "The killer awoke before dawn, he put his boots on." This line exemplifies both the motivation of Martin Sheen's and Marlon Brando's characters. One gets the feeling that either man would gleefully act out every line of the song with no hesitation. I just can't imagine a better song for a better movie. Brilliant lyrics meet brilliant dialog and imagery and fuck each other like a napalm rain and it smells like...victory.
July 8, 2010, 10:14 p.m. CST
The importance of such a scene. Chuck finally makes fire, he's all pumped up. He has done something that brings him back to our ancestors & our animal instincts. The song he decides to sing is "Lite my Fire"! He knows that he "couldn't get much HIGH"! I know the opening for Apocalypse Now is great, & the uses in Forrest Gump are cool, but this is a major factor in this movie & it is HIGHlighted with Chuck dancing around the fire singing The Doors! How more perfect of a usage can there be?!
July 8, 2010, 11:31 p.m. CST
July 9, 2010, 2:43 a.m. CST
Every time I hear "The End", it's as if it's a time machine taking me to a place I've only been to in my head, but exists as real as any place I've ever been to. I'm transported directly to a jungle, stalking around looking for a faceless enemy, teetering on the brink of insanity. I can hear the helicopters, the mortar fire, the sounds of the jungle, the mosquitoes buzzing around, I can even smell it all (I'm 32 and never been anywhere near Vietnam). No other song can evoke that kind of nightmare imagery in me, no other song can make me feel like that. The movie and the song are so intertwined that I can't think of one without the other. And that's why “The End” is the best use of a Door's song in a movie.
July 9, 2010, 2:55 p.m. CST
Some thoughts on what others have said and what I feel is the best use of a Doors song in a film and why, in detail: As this contest has shown so far, The Doors' music has been used in many different films over the years. Some to great effect; and some, sadly, not so great. For me, "Two-Lane Blacktop" wins for song choice, but loses for starring James Taylor. "The Lost Boys" would have been better if they had used The Doors' original version of "People Are Strange" rather than a cover. And "The Waterboy" loses both as a movie and for even having the nerve to use a Doors song in it at all. Though it's been said several times before and will likely be said again before this contest is over, "Apocalypse Now" wins best use of a Doors song in a movie for several unique reasons -- and not all of them immediately apparent. After Jim Morrison's death in 1971, The Doors continued on without him for two years. Though the first post-Jim album faired well (sorta), their second was a flop and they soon smartly disbanded. It wouldn't be until 1978 when the group teamed up again in the studio. Using spoken word recordings Morrison had made shortly before his death, they managed to resurrect their deceased lead singer and record a Grammy-nominated album called "An American Prayer." Still, the audience response paled in comparison to their first two albums -- "The Doors" and "Strange Days" -- both released in 1967. Songs like "Break On Through" and "Light My Fire" caught on with audiences, and by the summer of that year, they were a top-selling act. In the fall came songs like "Love Me Two Times" and the trippy "Moonlight Drive." And, amazingly, each album contained its own sprawling epic that clocked in at over ten minutes apiece ("The End" and "When The Music's Over" respectively). These tracks were unlike anything else being recorded in the midst of flower power and the summer of love. In truth, The Doors were more interested in breaking through to new perceptions and in plowing the desolation of the human soul than in the cheap, temporary thrills of a west coast love-in. For their third album, "Waiting For The Sun," they ventured into pop, but kept to their gritty roots with anthems like "Five To One" and "The Unknown Soldier." Their fourth album, "The Soft Parade," came after indecent exposure and obscenity charges in Miami and was a mistaken trip into orchestration; but again, they won us over with songs like "Wild Child" and the dizzying title track. By their fifth album, "Morrison Hotel," they had returned to form, balancing a newfound blues rock sound ("Roadhouse Blues" and "Maggie M'Gill") with their psychedelic roots ("Waiting For The Sun") and jazzier numbers ("The Spy" and "Queen Of The Highway"). But by their final studio album, "L.A. Woman," Morrison's whisky-soaked vocals had gone from Sinatra-inspired crooner to bearded bellower. The transformation -- some say self-destruction -- in only five years was extraordinary. Some fans stuck around for the new sound; others moved on or went back to listening to their old Doors LPs. Within four months' of their last album's release, Morrison was dead. Enter 1978 and Francis Ford Coppola, former UCLA classmate of Jim Morrison's (and yes, Jim did graduate with a film degree in 1965). He is in the midst of editing his latest opus, what will become -- after "The Godfather" and "The Godfather Part II" -- the film he is most remembered for: "Apocalypse Now." After cutting together a five-and-a-half-hour workprint, he needs some backing music for a few scenes. It'll be temporary. He takes out The Doors' debut album, pops it on his turntable and drops the needle. The opening chords to "The End" float into the air like a hypnotic ether as the film starts. In what could have been a muggy summer evening in Coppola's San Francisco home, he's not taken back to the muggy heat of the Philippines where the film was shot; not taken back to the constant strain of budget concerns; not taken back to Brando's difficulty; not taken back to lead actor Martin Sheen's near fatal heart attack; not taken back to the frustration, the anger, and the desolation of the entire 15-month shoot. No. Instead he's taken back to Saigon, 1969. The music was a perfect fit and breathed life into the rough cut. The evidence is in the fact that the existing workprint contains not one, but five different Doors songs spliced in throughout (both "The End" and "When The Music's Over" in their entirety, "Summer's Almost Gone," "I Can't See Your Face In My Mind," and "People Are Strange"), not counting the natives who chant "Light My Fire." The band had become the soundtrack for Coppola's vision and would help set the film's tone. In the final cut made over a year later, only "The End" would survive as a bookend and overarching metaphor within a metaphor -- the film's start was actually an ending and its end a new beginning. It also marked a rebirth for The Doors. Seven years after Jim Morrison's death, and after a musical dry spell from the group, The Doors released "An American Prayer"; the following year, in 1979, "Apocalypse Now" was finally screened to much anticipation. Featured on its soundtrack was a new mix of "The End" with assorted jungle noises and the sound of helicopter blades chopping the air along with Morrison chanting the word "fuck" over and over again, previously heard only slightly on the mono mix of the first album and now turned up to full volume like a hypnotic spell that worked as both a shock and a release. Two of the film's most famous scenes, the opening and the finale, were backed with different portions of the same epic song by The Doors. "The End" would usher the opening salvo and fire the last shot of Coppola's Vietnam venture into the horrific world of Colonel Kurtz. But who were The Doors? Young audience members who had perhaps only heard their pop singles like "Light My Fire" and "Hello, I Love You" wanted to know. They headed for their music shops and started picking Doors albums again. By 1981, a full ten years after Morrison's death, a biography written by Jerry Hopkins and Danny Sugerman was released ("No One Here Gets Out Alive") and shot to the top of the bestseller's list. The Doors were again revered as icons of rock and their tortured lead singer, a kind of rock god who may have even faked his own death. By the late ‘80s, interest in the band had waned once again. Then a filmmaker and Vietnam veteran who had made an arguable companion to "Apocalypse Now" in 1986 with "Platoon" -- a film starring Martin Sheen's youngest son that was also shot in the Philippines and included The Doors' music on its soundtrack -- was Oliver Stone. As a soldier, Stone vividly recalled The Doors as part of his Vietnam experience, "Break On Through" in particular. Seeing the use of The Doors' music work so eloquently for Coppola and knowing it had been the soundtrack to his own war experiences, the filmmaker wanted to bring the leather-clad madman who led the group to the big screen. In 1991, twenty years after Morrison's death, Stone released his biopic "The Doors" and brought the group to yet another young generation. In the two decades since, The Doors have released several live shows from their archive and, most recently, a documentary called "When You're Strange" that tells their side of the story. And once again, as they did in 1978, they've brought Jim Morrison back from the dead by using never-before-seen footage from his unreleased film "HWY." The scenes were so surprising and surreal some viewers assumed it had to be an actor, not believing such crisp footage could be vintage and actually depict the genuine Morrison. It was as if the rumors of his faked death were true and he had returned, like some unaging spirit, to re-energize the group he had left nearly 40 years ago. But in truth, along with his music, these celluloid documents running at 24 frames per second are all we have left of a life that blazed with an intensity that almost certainly meant an early burnout -- simply fading away was never in the cards for Morrison. So why are we still talking about The Doors so many years after their last hit record? Why do they regain in popularity nearly every decade and still thrill us? We can talk about Morrison's mystique, the Dionysian allegory of his life and death, and the enduring music that manages to find new listeners on its own. But we can't say any of it without also mentioning in the same breath what helped reignite a love for the band the first time around: that muggy evening in 1978, when a weary Francis Ford Coppola, perhaps rubbing the fatigue from his eyes, dusted off his record collection and set a large, black disc on a turntable and, for the first time, set "Apocalypse Now" to the music of The Doors.
July 10, 2010, 5:39 a.m. CST
I would have to say the song "People Are Strange" exemplifies not just the whole movie for me but also sums up The Doors music . The path of the Doors is an unusal one ...the amazing imagery of Jim's poems the amazing music from the the band..and at times the oddness of Jim . The music itself is so unique not just for the 60's but even today . I enjoyed how the Director Tom DiCillo of "When You're Strange" shows the strangeness that Jim shows in those clips when they played the title song...Jim holding up a glass ash tray to his face looking at a mirror ..glass through glass and the empty corridors of a concert hall , it is such a perfect film clip to go along with the song ....then seeing the carnival performers of the "Strange Day's" album cover come to life out of the cover again exemplifies how different and special The Doors music was to me . "If the doors of perception were cleansed every thing would appear to man as it is, infinite. Jim ,Ray ,Robby and John's music will be infinite , unique and viceral.
July 11, 2010, 10:42 p.m. CST
In "The Basketball Diaries," "Riders on the Storm" plays through a trancelike, hypnotic sequence showing Jim Carroll (Leonardo DiCaprio) trying to play basketball for his high school team while under the heavy influence of the narcotic demons that plagued his teenage years. The brilliance of this sequence lies in the music's ability to juxtapose the various, contrary sides of Jim's life: the star athlete (rhythmic pacing of Ray's keyboard and Robbie's guitar, and the steady jazz beat of John's drums, the three together like the pounding of a basketball on hardwood, like the slow motion strides of a long distance runner); the poet (the Lizard King's ghostly voice and lyrics slithering through until they become atmospheric); and the addict (the disorienting cinematography and direction of the scene: Carroll standing in the middle of the court rubbing his eyes and face as the game flies by him on all sides). This combination is most poignant as Jim steps to the foul line, and the momentum of his sickly free throw attempt confuses and dizzies him as he collapses, mouth open and eyes wide. The lyric "Let your children play" is ironically timed here, arriving at the precise moment that playtime ends as the police and priest enter the gymnasium, all too wise to the trouble Jim and his friends have been getting themselves into.
July 11, 2010, 11:30 p.m. CST
52 Apocolypse Now may at first seem like the best use of The Doors catalogue in a movie; that is until you go back and watch The Waterboy. In one of Adam Sandler’s top three movies, arguably his funniest role, a soundtrack stands out as the preeminent part of The Waterboy. With classics ranging from “Born on the Bayou” to John Lee Hooker’s classic “Boom Boom,” one song still manages to stand out as the heart of both the soundtrack and the movie, “Peace Frog.” The song not only embodies the excitement and comedy of the movie, but it also has established a new generation of Doors fans in me, as well as others. Firstly, the song strengthened an already great movie in perhaps the funniest scene of the nineties. I will never forget when an offensive lineman playing against Sandler’s team told him “I’m going to playing with your mama tonight” enraging Sandler as he memorizes his enemies number: “52, 52.” He causes a fumble, recovers the ball, and lobs it to number 52. Cue Robby Kreiger’s G5 guitar chord. When I saw it in theaters, the entire audience erupted with laughter as the first riff in the song gave number 52 a chance to realize the situation and make a bolt for the end zone with Sandler in pursuit and “Peace Frog” getting into full swing as he scores the winning touchdown just to be dropkicked during the pause after the first couple bars of “Peace Frog.” That’s when the audience started rolling with laughter as Densmore’s drumming prowess jumps in with Ray Manzararek’s distinguished bass and keyboards as Henry Winkler, Sandler’s coach sits on the ground crying in his hands. Other film crews could have easily used the song for a wartime scene, but The Waterboy’s crew recognized its comedic potential. The percussive nature of the instruments also personifies how much action the movie has and hard hitting the movie is. Because of these reasons, I will forever associate “Peace Frog” with The Waterboy as well as the other way around. In fact I cannot hear the song and not think of the movie or see the movie without thinking of The Doors’s “Morrison Hotel” classic. I, being only nine at the time, had no concept of “The Doors” at the time, except for “Riders on the Storm” because of its use in an episode of The Wonder Years, another, though inferior, use of a Doors song in visual entertainment. I had to know what this song was and I had to know then. As soon as the movie let out, I made my older brother take me to the c.d. store to find the soundtrack. We got in his car and I quickly scanned the disc until I found it, track 5. I listened to it over and over until we finally arrived home. My dad heard me singing about “blood in the streets in the town of New Haven,” and sternly commanded me to follow him to our basement. I couldn’t help but wonder if I had done something wrong when he pulled off of one of the shelves a foot by foot square with three four scraggly men sitting in a window on the front of it behind the words “Morrison Hotel.” It was the first vinyl record I had ever seen. I played it over and over along with the other two Doors albums he owned. I was hooked, and they are now one of my favorite bands, something that I am positive I would not have discovered for many years more, if ever, had it not been for the sublime use of “Peace Frog” in the now classic Waterboy scene. I know that I am not the only person that “Peace Frog” in The Waterboy has turned onto the Doors. One recent day I was sitting with my friend on a lazy afternoon when we saw The Waterboy come on TV. We started watching it when I brought up the “Peace Frog” scene, and my friend told me how much he loves The Doors because of that scene. I have also had another friend bring up the scene when talking about how he got into The Doors. For these reasons, it is quite apparent that not only has “Peace Frog’s” use in The Waterboy introduced many people to the world of The Doors, a difficult feat for any movie, especially a comedy. “Peace Frog” has obviously represented the funniness that is prevalent throughout the whole movie, and made me and others fans of The Doors for life. And it is due to these effects that I know for a fact that “Peace Frog” is the finest utilization of a Doors song in a movie, if not any song in any movie. And similarly to how Jim Morrison once said “bleeding ghosts crowd the young child’s fragile eggshell mind,” The Doors mystical beats crowded my youthful mind as well as those of others and embedded themselves forever.
July 13, 2010, 7:30 a.m. CST
I have also heard that some of The Doors music was used in The Dreamers - but I can't find my copy. If this is true, it would be a great use of The Doors since (as they acknowledged in the box set) most of their songs are about Love, Death and Travel. Unfortunately, I cannot confirm right now and I know the contest is over, but I'm just hoping for an answer.
July 13, 2010, 7:45 a.m. CST
----- http://www.jordaner.com ----Discount Activities New era cap $9 FREE SHIPPING EDHARDY BIKINI $ 16 Air jordan(1-24)shoes $30 Sunglasses Oakey,coach,gucci $12 Handbags(Coach l v f e n d i d&g) $30 Tshirts (Polo ,ed hardy,lacoste) $15 Jean(True Religion,ed hardy,coogi) $30 Bikini (Ed hardy,polo) $18 ======= http://www.jordaner.com
July 13, 2010, 3:26 p.m. CST
I’m sure I’m not alone in this choice, but it was the one that came immediately to mind: “People are Strange” in “The Lost Boys.” Why? It was a perfect encapsulation of all the characters, both heroes and villains in all the good and bad ways that the lyrics imply. More importantly, it reflected on the audience, reminding us all we were unique, alone, and yet could still rise above all that to find people and win battles. Despite growing up with the music without the movie, I cannot separate the song and the movie any longer. I hear it and the images start to roll in my mind and I’m alone in a seaside town in CA trying to grow up and stay alive. A marriage that powerful of music, meaning, and image is hard to find.
July 14, 2010, 6:23 a.m. CST
by I AM ROCKO
...Best use of should be broken down into two categories. Official Doors- Opening "Apocalypse Now" Cover- Strange Days movie, Strange Days song as covered by Prong.
July 16, 2010, 11:44 a.m. CST
wheres my poster?????
July 17, 2010, 8:35 p.m. CST
Yeah when is the winner announced?
July 17, 2010, 10:20 p.m. CST
July 17, 2010, 10:21 p.m. CST
I'm surprised more people haven't been screaming for results. But yeah, an announcement would be nice!
July 18, 2010, 2:06 a.m. CST
-------- http://www.jordaner.com a leading worldwide wholesaler company (or ucan say organization). We supply more than 100 thousand high-quality merchandise and famous brand name products all at wholesale prices. Our company specializes in manufacturing from China,With more than 6 Years of experience. ------- http://www.jordaner.com
July 19, 2010, 1:45 p.m. CST
c'mon, i have a spot picked out for my Doors poster. lets make this work ;-)
July 19, 2010, 4:13 p.m. CST
that after I put my first post up, people sort of just found ways to recombine and reword what I originally said. But at this point, I'd just like to see if anything at all is going to happen. Or is this some big let down? I mean, what are they doing? Man, people ARE strange...
July 19, 2010, 5:16 p.m. CST
that this poster is hanging over Merricks toilet as we speak. booooooooooooooo
July 20, 2010, 1:15 a.m. CST
someone rolled it up and used it for one big nasty tasting joint? MMMMM, glue and paper....
July 21, 2010, 12:40 a.m. CST
If I didn't win, I still have to know who did & why! This was supposed to have been announced a week ago. No explanation?
July 22, 2010, 7:47 p.m. CST
by Star Hump
Let's go. Announce the winner of this thing. Unprofessional
Aug. 1, 2010, 5:46 p.m. CST
Hello I LOVE YOU in the 1981 john belushi/dan aykroyd movie NEIGHBORS.
Aug. 5, 2010, 10:52 p.m. CST
welcome to: www.1shoe1worth.com The website wholesale for many kinds of fashion shoes, like the nike,jordan,prada, also including the jeans,shirts,bags,hat and the decorations. All the products are free shipping, and the the price is competitive, and also can accept the paypal payment.,after the payment, can ship within short time. free shipping competitive price any size available accept the paypal 90X Extreme Fitness System ONLY ONLY 42$$$$$$$ jordan shoes $32 90X Extreme Fitness System ONLY ONLY 42$$$$$$$ nike shox $32 Christan Audigier bikini $23 Ed Hardy Bikini $23 Smful short_t-shirt_woman $15 ed hardy short_tank_woman $16 Sandal $32 christian louboutin $80 Sunglass $15 COACH_Necklace $27 handbag $33 AF tank woman $17 puma slipper woman $30 90X Extreme Fitness System ONLY ONLY 42$$$$$$$ www.1shoe1worth.com