Bob Dylan - Don't Look Back VHS
When acclaimed documentary filmmaker D.A. Pennebaker (Monterey Pop, The War Room) filmed Bob Dylan during a three week concert tour of England in the Spring in 1965, he had no idea he was about to create one of the most intimate glimpses of the rock legend ever put on film. Wanting to make more than just a concert film, Pennebaker sought both the public and private Bob Dylan. With unobtrusive equipment and rare access to the elusive performer, he achieved a rare fily-on-the-wall glimpse of one of the most influential musicians of all time.
Hailed as one of the best documentaries about a performing artist ever created, DONT LOOK BACK is more than a view into an extraordinary concert tour - Bob Dylans last as an acoustic performer. It is a window into the 60s, its spirit, and one of the poet-musicians whose words and songs defined it.
Both a classic documentary and a vital pop-cultural artifact, D.A. Pennebaker's portrait of Bob Dylan captures the seminal singer-songwriter on the cusp of his transformation from folk prophet to rock trendsetter. Shot during Dylan's 1965 British concert tour, Don't Look Back employs an edgy vérité style that was, and is, a snug fit with the artist's own consciously rough-hewn persona. Its handheld black-and-white images and often-gritty London backdrops suggest cinematic extensions of the archetypal monochrome portraits that graced Dylan's career-making early-'60s album jackets.
Pennebaker's access to the legendarily private troubadour enables us to witness Dylan's shifting moods as he performs, relaxes with his entourage (including then lover Joan Baez, road manager Bob Neuwirth, and poker-faced manager Albert Grossman), and jousts with other musicians (notably Animals alumnus Alan Price and Scottish folksinger Donovan), fans, and press. It's a measurement of the filmmaker's acuity that the conversations are often as gripping as Dylan's solo performances. Grossman's machinations with British promoters, Baez's hip serenity, a grizzled British journalist's surrender to the fact of Dylan's artistry, and the artist's own taunting dismissal of a clueless sycophant are all absorbing.
With the exception of the studio recording of "Subterranean Homesick Blues," the live performances (including five newly restored, complete audio tracks excised from the original film but included on the DVD version) are constrained by crude audio gear. Their urgency, however, is timeless, as is Pennebaker's film, a legitimate cornerstone for any serious rock video collection. --Sam Sutherland
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Dylan's incredulous manner in response is funny, ironic, and at times very sarcastic; especially with the totally "out of it" reporter from Time Magazine. The interview is one of the subjects of a very informative commentary by director and documentary genius D.A. Pennebaker and Bob Neuwirth, the tour manager.
His treatment of his young fans is a sweet counterpoint to his sarcastic treatment of the press. He is kind and very solicitous of a gaggle of young girls he has up to his room before a performance.
An added pleasure is the snatches of the beautiful voice of Joan Baez who accompanied him on the tour. Her offstage voice is as beautiful and radiant as onstage; strong and pure.
The deluxe edition has full tracks sung by Dylan while on the tour, including It Ain't Me Babe, It's All Over Now Baby Blue, Love Minus Zero/No Limit, The Lonesome Death of Hattie Carroll, and To Ramonna. They are great.
This a "must see" for Dylan fans. See it before you see "No Direction Home", a brilliant follow-up by Martin Scorsese about a subsequent much more controversial English Dylan concert tour when Dylan had switched from acoustic to electric.
A Subterranean Homesick Blues tiny flip book
And a book with dialogue inside of thee interviews
I LOVE IT with all my heart.
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