The Doors '60 Icons Break On Through To Film Via Oliver Stone's Vision

The Doors 1991 biopic by Oliver Stone
THIS ARTICLE WAS WRITTEN BY PAUL CHUTKOW AND PUBLISHED BY ORLANDO SENTINEL ON MARCH 3, 1991.

SAN FRANCISCO — '60s icons break on through to film via Oliver Stone's vision.

One morning last summer, San Francisco awoke and found itself back in the 1960s. The corner of Haight and Ashbury was again a swirling carnival of psychedelic street theater and protests against the Vietnam War. Streams of flower children poured in, bells on their wrists and blossoms in their hair, all converging for that sacred rite of the counterculture, a be-in at Golden Gate Park.

There, under placards pleading ''Make Love, Not War,'' the sons and daughters of America again frolicked in a rapturous collective high, denouncing capitalism, militarism and sexual repression. The spirit was feverish; hippie couples rolled in the grass, and one young woman shed her clothes and burst into a ballet of Dionysian abandon, urged on by the pulsing music and primal taunts of Jim Morrison and the Doors: ''Day destroys the night,/ Night divides the day,/ Try to run, try to hide,/ Break on through to the other side.''

Standing on the edge, watching this scene of joyous anarchy take on a life of its own, was Oliver Stone. He and his staff had spent months creating this be-in and its enveloping time warp.

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