Gordon, Keith

Wild Palms

A dark, sexy, noir Los Angeles of the future is the backdrop for Oliver Stone's haunting, sci-fi saga of greed, treason and virtual reality. Harry Wyckoff (James Belushi) is about to become a player in a dark and terrifying battle where everything is at stake and no one is who they seem. Featuring an all-star cast, this story about a cult, a corporation, and a conspiracy to rule the country, is one of the most original movie events in recent history.

Waking the Dead

Actor-turned-director Keith Gordon has crafted a touching love story that transcends time, political ideology, and even death. The movie opens in 1974 as Fielding Pierce (Billy Crudup) watches a TV news report announcing the death in Chile of three American activists, including Sarah Williams (Jennifer Connelly), his one true love. The story flashes back to when they first met, showing how he was always more conservative, with grand political aspirations, but the relationship worked because they both shared dreams of making the world a better place, one from inside the system and the other from outside. The movie also flashes forward to his life in the early '80s, when he gets tapped to run for Congress. He starts having visions of her, but he is never quite sure if she's a hallucination arising out of his stress, a manifestation of his political consciousness, an out-and-out ghost, or maybe she's still alive somehow. Whatever she is, his deep longing for her is making him crack up. Gordon smartly jumps the story back and forth in time, forgoing an "objective" reality in favor of a more subjective and emotional one. It is a structure based on memory, and that in tandem with the content is what makes Waking the Dead a very powerful film indeed.--Andy Spletzer

At the same time he is running for Congress, a young lawyer experiences vivid memories of his girl friend who died in a political bombing years ago.
Genre: Feature Film-Drama
Rating: R
Release Date: 12-APR-2005
Media Type: DVD

The Singing Detective

If you can pull The Singing Detective out from under the long shadow cast by the acclaimed 1986 British miniseries, Keith Gordon's 109-minute film version achieves its own distinction. It was a daring (and some might say foolhardy) assignment to film Dennis Potter's screenplay, written out of Potter's desire to see his semi-autobiographical drama in feature-length form, but Gordon rose to the occasion with a superlative cast led by Robert Downey, intense as ever as Potter's on-screen alter ego. Bedridden with an excruciating case of skin-rotting psoriasis, pulp novelist Dan Dark (Downey) escapes into his vivid imagination, where gunmen and gumshoes pursue their pulpy agenda, casting himself as the titular "warbler" whose pain and anger is focused like a laser on his cheating wife (Robin Wright Penn) and anyone else who's made his real and imaginary worlds unbearable. Coproducer Mel Gibson appears under heavy makeup as Dark's condescending psychiatrist, and supporting roles are played with stylish flair by Adrien Brody, Katie Holmes, Jeremy Northam, Carla Gugino, and others. While many critics called this a noble failure, The Singing Detective captures the essence of Potter's story, offering a welcome alternative to the acknowledged superiority of the miniseries. --Jeff Shannon

The Chocolate War

After acting in literary adaptations like Christine, Keith Gordon returned to the well for his directorial debut. His smart and stylish adaptation of Robert Cormier's controversial youth novel marks him as a natural. Based in a frequently overcast Pacific Northwest, Jerry Renault (Ilan Mitchell-Smith, Weird Science) enters a Catholic boys' school in the wake of his mother's passing. The freshman already has enough worries, but then Brother Leon (a ferocious John Glover) instructs each student to sell 50 boxes of chocolates during Trinity's annual fundraiser. Jerry refuses. Leon is taken aback, but then he finds that Jerry's refusal--his assignment--was handed down by Machiavellian upperclassman Archie (CSI's Wallace Langham, then known as Wally Ward), head of the Vigils. The secret society also instructs Jerry to recant, but he sticks to his guns. At first, a few kids congratulate him on his stand, but then Leon and Archie, threatened by the iconoclast, turn the school against him. The climactic showdown between Jerry and Archie deviates from the book, but retains its cynical spirit. As Gordon explains in his DVD interview, "They both threaten the system, and in the end, the system is a much bigger problem than any one individual." Like his mentor Brian DePalma, Gordon aims more for emotional than visual truth, which translates into dramatic lighting and fantasy sequences (which are, at first, more confusing than illuminating), but the performances remain grounded in reality. Interestingly, Mitchell-Smith, who never overplays his hand, abandoned acting in the 1990s--for teaching. --Kathleen C. Fennessy

A surreal portrait of a Catholic Private School and it's hierarchy. A new student must submit to the bizarre rituals of his peers and the expectations of the school's administration by selling chocolates.System Requirements:Run Time: 105 minutesFormat: DVD MOVIE Genre: DRAMA Rating: R UPC: 027616073204 Manufacturer No: M107320

Mother Night

The third movie from director Keith Gordon (The Chocolate War, A Midnight Clear). The 35-year-old director who started as an actor (Christine) has turned into one of the more assured directors working today. His films are ambitious in plot and tone. With Mother Night he works with his first major star, Nick Nolte.

In 1961, the fictitious Howard W. Campbell Jr., an American by birth, shares the same deserted prison with Adolph Eichmann. As he prepares to stand trial for war crimes, the former playwright scribes his memoirs. Now this is the same Howard W. Campbell Jr. who was a notorious voice on German radio during the war, tearing into American policy and spreading Nazi propaganda. Was he a willful participant or an American spy? Campbell, who romanticizes at the drop of a hat, tells his story of indifference, morality, and love. His days of notoriety in Berlin give way to anonymity back in the States. He purrs about his true love (Sheryl Lee) and tells truths with his shrewd neighbor in New York (Alan Arkin).

The movie is based on Kurt Vonnegut's 1961 novel of the same name. Gordon and screenwriter Robert E. Weide have an uncommon insight into Vonnegut's material: the mesh of fact and fiction, the sweeping themes, the tragic goofiness. The movie is perfectly suited to Nolte's gruff style with a husky voice that pierces the night. The film is a cherished companion piece to Slaughterhouse Five. --Doug Thomas

A Midnight Clear

William Wharton's autobiographical novel of World War II becomes a moving portrait of war's madness in the microcosm of a small intelligence patrol on the German front in 1944. The unit, composed of high IQ soldiers, is sent to scout ahead. They discover a small platoon of Germans hiding in the forest, but these soldiers would rather fight with snowballs than guns and exchange Christmas presents instead of mortar fire. The young, rather unsoldierly Americans are offered the opportunity to "capture" the Germans without a fight--until a fatal misunderstanding plunges their efforts into tragedy. Director Keith Gordon, who also penned the screenplay, creates an unusually eloquent, offbeat platoon drama shot amidst the tranquil beauty of a snow-covered forest. His excellent cast includes future stars Ethan Hawke and Gary Sinise, with Frank Whaley, Kevin Dillon, Arye Gross, and Peter Berg rounding out the platoon. Though little seen upon its 1992 release, this moving drama received high praise for its vivid characters and delicately wrought imagery and remains one of the most powerful pacifist dramas of the post-war era. --Sean Axmaker

Waking the Dead

Actor-turned-director Keith Gordon has crafted a touching love story that transcends time, political ideology, and even death. The movie opens in 1974 as Fielding Pierce (Billy Crudup) watches a TV news report announcing the death in Chile of three American activists, including Sarah Williams (Jennifer Connelly), his one true love. The story flashes back to when they first met, showing how he was always more conservative, with grand political aspirations, but the relationship worked because they both shared dreams of making the world a better place, one from inside the system and the other from outside. The movie also flashes forward to his life in the early '80s, when he gets tapped to run for Congress. He starts having visions of her, but he is never quite sure if she's a hallucination arising out of his stress, a manifestation of his political consciousness, an out-and-out ghost, or maybe she's still alive somehow. Whatever she is, his deep longing for her is making him crack up. Gordon smartly jumps the story back and forth in time, forgoing an "objective" reality in favor of a more subjective and emotional one. It is a structure based on memory, and that in tandem with the content is what makes Waking the Dead a very powerful film indeed.--Andy Spletzer

Mother Night [Region 2]

The third movie from director Keith Gordon (The Chocolate War, A Midnight Clear). The 35-year-old director who started as an actor (Christine) has turned into one of the more assured directors working today. His films are ambitious in plot and tone. With Mother Night he works with his first major star, Nick Nolte.

In 1961, the fictitious Howard W. Campbell Jr., an American by birth, shares the same deserted prison with Adolph Eichmann. As he prepares to stand trial for war crimes, the former playwright scribes his memoirs. Now this is the same Howard W. Campbell Jr. who was a notorious voice on German radio during the war, tearing into American policy and spreading Nazi propaganda. Was he a willful participant or an American spy? Campbell, who romanticizes at the drop of a hat, tells his story of indifference, morality, and love. His days of notoriety in Berlin give way to anonymity back in the States. He purrs about his true love (Sheryl Lee) and tells truths with his shrewd neighbor in New York (Alan Arkin).

The movie is based on Kurt Vonnegut's 1961 novel of the same name. Gordon and screenwriter Robert E. Weide have an uncommon insight into Vonnegut's material: the mesh of fact and fiction, the sweeping themes, the tragic goofiness. The movie is perfectly suited to Nolte's gruff style with a husky voice that pierces the night. The film is a cherished companion piece to Slaughterhouse Five. --Doug Thomas

The Singing Detective

If you can pull The Singing Detective out from under the long shadow cast by the acclaimed 1986 British miniseries, Keith Gordon's 109-minute film version achieves its own distinction. It was a daring (and some might say foolhardy) assignment to film Dennis Potter's screenplay, written out of Potter's desire to see his semi-autobiographical drama in feature-length form, but Gordon rose to the occasion with a superlative cast led by Robert Downey, intense as ever as Potter's on-screen alter ego. Bedridden with an excruciating case of skin-rotting psoriasis, pulp novelist Dan Dark (Downey) escapes into his vivid imagination, where gunmen and gumshoes pursue their pulpy agenda, casting himself as the titular "warbler" whose pain and anger is focused like a laser on his cheating wife (Robin Wright Penn) and anyone else who's made his real and imaginary worlds unbearable. Coproducer Mel Gibson appears under heavy makeup as Dark's condescending psychiatrist, and supporting roles are played with stylish flair by Adrien Brody, Katie Holmes, Jeremy Northam, Carla Gugino, and others. While many critics called this a noble failure, The Singing Detective captures the essence of Potter's story, offering a welcome alternative to the acknowledged superiority of the miniseries. --Jeff Shannon

The Singing Detective [Region 2]

If you can pull The Singing Detective out from under the long shadow cast by the acclaimed 1986 British miniseries, Keith Gordon's 109-minute film version achieves its own distinction. It was a daring (and some might say foolhardy) assignment to film Dennis Potter's screenplay, written out of Potter's desire to see his semi-autobiographical drama in feature-length form, but Gordon rose to the occasion with a superlative cast led by Robert Downey, intense as ever as Potter's on-screen alter ego. Bedridden with an excruciating case of skin-rotting psoriasis, pulp novelist Dan Dark (Downey) escapes into his vivid imagination, where gunmen and gumshoes pursue their pulpy agenda, casting himself as the titular "warbler" whose pain and anger is focused like a laser on his cheating wife (Robin Wright Penn) and anyone else who's made his real and imaginary worlds unbearable. Coproducer Mel Gibson appears under heavy makeup as Dark's condescending psychiatrist, and supporting roles are played with stylish flair by Adrien Brody, Katie Holmes, Jeremy Northam, Carla Gugino, and others. While many critics called this a noble failure, The Singing Detective captures the essence of Potter's story, offering a welcome alternative to the acknowledged superiority of the miniseries. --Jeff Shannon