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 »
When A&R man John Hammond is introduced, Billie Holiday, whom Hammond signed to Columbia Records, is heard singing the anti-lynching protest song "Strange Fruit." In truth, Hammond did not allow Holiday to record "Strange Fruit" for Columbia; she recorded the song for Milt Gabler's Commodore Records instead. See more »
There is a very famous saying among Tibetan Buddhists: "If the student is not better than the teacher, then the teacher is a failure."
It's sort of a biblical prophecy.
Poetry is words that are empowered to make your hair stand on end, that you realize instantly as being some form of subjective truth that has an objective reality to it, because somebody has realized it. Then you call it poetry later.
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If "Ray" can be released theatratrically, why can't this?
Surely Bob Dylan is just as influential as Ray Charles (if not more) and Scorsese has hemmed some of the finest films of the passed 30 years, but this is really a form of artist meets artist. Bob Dylan is interviewed and chronicled by none other than Martin Scorsese, and the results show the mending of two geniuses coming together. So what if it's a documentary? It's a fantastic film, and deserves a theateratrical release.
Scorsese doesn't cookie-cut it here, he doesn't give you the sympathetic look on an artist, it's not Hollywood in other words. He gives us a glimpse into a time period in Dylan's live. Could it be that Dylan has done and gone through so much, that a period of no more than 5 years can be edited into a 4 hour film? Yes. And it never feels stingy or overly long.
If you're a Dylan fan (which i am), this film is a MUST. If you're a Scorsese fan, this film is a MUST. If you're a film fan, this film is a MUST. A Great film, and will sure be on many top 10 lists. Now if they only released it theateratrically, maybe it'd be up for an Oscar.
But i'm sure Dylan doesn't mind. Maybe Scorsese does. :(
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