Коттон Клаб: 1930-шы жылдар Гарлемінің музыкалық хроникасы

The Cotton Club is a 1984 American musical crime drama film co written and directed by Francis Ford Coppola and based on James Haskins' 1977 book of the same name. The story centers on the Cotton Club, a Harlem jazz club in the 1930s. The film stars Richard Gere, Gregory Hines, Diane Lane and Lonette McKee, with Bob Hoskins, James Remar, Nicolas Cage, Allen Garfield, Gwen Verdon, Fred Gwynne and Laurence Fishburne in supporting roles. The film was noted for going over budget on its production costs and taking a total of five years to complete. Despite being a disappointment at the box office, the film received generally positive reviews and was nominated for several awards, including Golden Globes for Best Director and Best Picture (Drama) and Oscars for Best Art Direction (Richard Sylbert, George Gaines) and Best Film Editing.

A musician named Dixie Dwyer begins working with mobsters to advance his career but falls in love with Vera Cicero, the girlfriend of gangland kingpin Dutch Schultz. A dancer from Dixie's neighborhood, Sandman Williams, is hired with his brother by The Cotton Club, a jazz club where most of the performers are black and the customers are white. Owney Madden, a mobster, owns the club and runs it with his right hand man, Frenchy. Dixie becomes a Hollywood film star, thanks to the help of Madden and the mob but angering Schultz. He also continues to see Schultz's gun moll, Vera Cicero, whose new nightclub has been financed by the jealous gangster. In the meantime, Dixie's ambitious younger brother Vincent becomes a gangster in Schultz's mob and eventually a public enemy, holding Frenchy as a hostage. Sandman alienates his brother Clay at The Cotton Club by agreeing to perform a solo number there. While the club's management interferes with Sandman's romantic interest in Lila, a singer, its cruel treatment of the performers leads to an intervention by Harlem criminal 'Bumpy' Rhodes on their behalf. Dutch Schultz is violently dealt with by Madden's men while Dixie and Sandman perform on The Cotton Club's stage.

Inspired to make The Cotton Club by a picture book history of the nightclub by James Haskins, Robert Evans was the film's original producer. Evans hoped the film would bring public attention to African American history in a similar way that Gone with the Wind did for the American Civil War and the Reconstruction era. On December 12, 1980, it was announced that Evans and Paramount Pictures would serve as co producers of the film while Robert Altman would direct and Mario Puzo would write. However, Evans and Altman's film Popeye premiering that day became a box office flop. Although Evans secured $12 million worth of financing from Saudi Business Tycoon Adnan Khashoggi, Paramount Pictures withdrew from the film in 1981. Evans worked to secure sole ownership of the film negative to recoup his losses from recent poor stock market investments and a cocaine trafficking arrest. However, this action alienated potential investors who would be unable to profit from television and home video distribution rights. The production was finally delayed when Evans reached a plea bargain to produce an advertising campaign of anti drug public service announcements in exchange for an expungement of his record. In 1984, Evans, who intended to direct the film himself after Altman departed, hired William Kennedy and Francis Ford Coppola to re write Mario Puzo's story and screenplay. Evans eventually decided that he did not want to direct the film and asked Coppola at the last minute. Richard Sylbert said that he told Evans not to hire Coppola because "he resents being in the commercial, narrative, Hollywood movie business". Coppola said that he had letters from Sylbert asking him to work on the film because Evans was crazy. Coppola also said that "Evans set the tone for the level of extravagance long before I got there". In the 1989 "Cotton Club Trial", Evans invoked his Fifth Amendment right against self incrimination and refused to testify. Robert Evans wanted to cast his friend Alain Delon in a two scene role as Lucky Luciano but this did not occur. The role of Luciano was instead portrayed by Joe Dallesandro, starting the dramatic film career for the former Warhol Superstar. Author Mario Puzo was the original screenwriter and was eventually replaced by William Kennedy, Sayyah invested $5 million and said that he had little chance of recouping his money because the budget escalated from $25 to $58 million. He accused the Doumanis of forcing out Evans and said that an Orion loan to the film of $15 million unnecessarily increased the budget. Evans, in turn, sued Edward Doumani to keep from acting as general partner on the film.

Embassy Home Entertainment paid a record $4.7 million for North America home video rights. The film appeared on videotape and videodisc in April 1985. It was the first to use the Macrovision copy protection system on VHS.

In 2015, Coppola found an old Betamax video copy of his original cut that ran 25 minutes longer. When originally editing the picture, he acquiesced to distributors who wanted a shorter film with a different structure. Between 2015 and 2017, Coppola spent over $500,000 of his own money to restore the film to the original cut. This version, titled The Cotton Club: Encore and running 139 minutes, debuted at the Telluride Film Festival on September 1, 2017. Lionsgate (owner of the Zoetrope Corporation backlog, and working in association with original studio Orion Pictures) released that version theatrically, and on DVD and Blu ray in the fall of 2019. The Film Stage gave The Cotton Club: Encore a rating of A−, while Rolling Stone described the result of this version as "eye opening".

The Cotton Club was released on December 14, 1984, in the United States and Canada on 808 screens and grossed $2.9 million on its opening weekend, fifth place behind Beverly Hills Cop, Dune, City Heat and 2010. Evans took the blame for hiring Coppola while Coppola responded that if he had not been hired, the film would have never been made. Evans said that Coppola made the budget escalate dramatically by rejecting the script, hiring his own crew, and falling behind schedule. On Metacritic, the film has a weighted average score of 68% based on reviews from 14 critics. Roger Ebert of the Chicago Sun Times rated the film 4 out of 4 stars. The film appeared on both Siskel and Ebert's best of 1984. Conversely, Diane Lane was nominated for the Golden Raspberry Award for Worst Supporting Actress category (also for her work in Streets of Fire), ultimately losing to Lynn Holly Johnson for Where the Boys Are '84.