How does it feel? From Dylan’s expression, just fine. Dylan’s face goes from defiance to triumph.
“Play fucking loud.” The snare drum kickstarts “Like A Rolling Stone” and a wall of sound blasts from the speakers. “You’re a liar.” He turns to guitarist Robertson. But onstage he’s transcendent, as if the electricity is coursing through his body.
THE ART OF WAR 2 THE BETRAYAL SOUNDTRACK CRACK
In four years he’s started the folk revival, killed it, inherited the mantle of the Beat Generation and reinvented rock ’n’ roll, and he looks like the culture-imposed burden is about to crack his spine. By the end of the ’66 tour (and Scorsese’s movie), Dylan looks frail, wasted and weary. Dylan and the Band are playing take-no-prisoners rock in the face of hostile guerilla skirmishes threatening to erupt into full-scale warfare. When Dylan plugged in with the Butterfield Blues Band at Newport 1965 and kicked into a raucous “Maggie’s Farm,” the director provides a Rashoman take on Dylan’s perceived betrayal. And with a 1964 performance of “Chimes of Freedom” we see the lyrics changing, too, more concerned with Dylan’s interior landscape than social upheaval. He uses snippets of the acoustic “Baby Let Me Follow You Down” from Dylan’s first album layered with excerpts from the barnstorming electric version he performed with The Band to show Dylan morphing from chambray-clad proletariat to Carnaby Street rocker. He never wanted to be the leader of anything, he says he just wanted to sing certain songs that didn’t exist and in order for them to exist he had to write them. But No Direction Home makes clear that Dylan was uncomfortable with torches of any persuasion, and a little disquieted by how many folks were following him. After 40 years, emotions still run high-mostly awe, as if these aging folkies were groping for words to describe the coming of a prophet. Outtakes were also juxtaposed with recent interviews by Dylan manager Jeff Rosen with Village stalwarts who had a ground’s-eye view of the Dylan phenomenon. Pennebaker’s tour documentaries Don’t Look Back and the unreleased Eat The Document. In no time, he knew Woody Guthrie and Pete Seeger, and was sleeping on Dave Van Ronk’s couch.įor his film, Scorsese had endless footage to choose from, including archival reels from the Newport Folk Festivals and D.A. Even this early, his past was already fading and a more fitting one was being invented-Dylan the hard traveler who’d worked carnivals, hoboed freight trains and jammed with bluesmen like Manse Lipscomb. He paints Dylan as a streetwise waif who could’ve been a character in one of his own songs: the Jack of Hearts, maybe, or Renaldo in his film Renaldo and Clara. The fresh-faced 20-year-old looks incredibly innocent there’s no indication that within a year he’ll reinvent the Greenwich Village folk scene, or go on to blur forever the line between poetry and songwriting. In No Direction Home, director Martin Scorsese digs up early home-movie footage of Dylan clowning like Chaplin.
When Bob Dylan hit the snowy streets of New York in the winter of 1961, it seemed cameras were waiting for him, as if there’d been news of his coming. Here are the 10 best music documentaries currently streaming on Netflix: If you’re a fan of music or the documentary as an art form, you can delve into 10 of the best music documentaries currently streaming on Netflix, listed below.įor more of Paste’s lists of best Netflix movies, check out our recently-updated lists of the 40 best documentaries and the 100 best movies currently available on Netflix. Music documentaries can do two things (or some combination of the two): over-inflate the mythical nature of music’s most interesting stories, or shed a light on important truths about the music that has shaped our world, straight from the mouths of people who made it or who were in their inner circles.
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