The infamous story of Benjamin Barker, a.k.a Sweeney Todd, who sets up a barber shop down in London which is the basis for a sinister partnership with his fellow tenant, Mrs. Lovett. Based on the hit Broadway musical.
Helena Bonham Carter,
Portrait of an artist as a young man. Roughly chronological, using archival footage intercut with recent interviews, a story takes shape of Bob Dylan's (b. 1941) coming of age from 1961 to 1966 as a singer, songwriter, performer, and star. He takes from others: singing styles, chord changes, and rare records. He keeps moving: on stage, around New York City and on tour, from Suze Rotolo to Joan Baez and on, from songs of topical witness to songs of raucous independence, from folk to rock. He drops the past. He refuses, usually with humor and charm, to be simplified, classified, categorized, or finalized: always becoming, we see a shapeshifter on a journey with no direction home. Written by
The black cylindrical case that Allen Ginsberg was resting his hand upon during his interview was a Manfrotto camera tripod case the crew brought along with them for the interview. See more »
Footage of the San Francisco Bay Bridge is included among footage of New York City illustrating Bob Dylan's arrival there. See more »
How many people who major in the same musical vineyard in which you toil, how many are protest singers? That is, people who use their music, and use the songs to protest the uh, social state in which we live today, the matter of war, the matter of crime, or whatever it might be.
Um... how many?
Yes. How many?
Uh, I think there's about uh, 136.
[People around him giggle. The reporter doesn't laugh]
You say ABOUT 136, or you mean exactly 136?
Uh, it's either 136 or 142.
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I've just watched the first part of 'No Direction Home". All I can say is thank you Mr Scorsese for bringing us such a wonderful document. I suppose the movie has most resonance for people who were there and buying the records and listening to the performances, but I would have thought even a fifteen year-old looking at the footage of Dylan singing "Pawn in The Game" would feel a shiver of wonderment.
I did not actually go to any of the '65 and '66 concerts (something I always regret) but I know many people who did, and many have told me that the cheering was usually as loud as the booing, and I don't know if that will fully come across; but a wonderful document, nevertheless.
And that is why Scorsese must be applauded; the editing was superb, the interviews were well chosen, the music clips were generous and Dylan is wonderfully articulate and revealing.
Yes boys and girls I enjoyed it; and Highway 61 in all its vinyl glory is going on the turntable right now!
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