This was one of my favorite documentaries just because I'm a musician myself and I'm fascinated by guitars. I've never heard of Bob Dylan except only his name until yesterday when we watched Don't Look Back in class. I think this was one of the few documentaries I liked watching because it felt like I was watching from a fan's viewpoint and following his life and music. I don't think there was a scheme or hidden agenda behind it. I think Pennebaker was very honest when he said he wanted it to be abstract from a musical aspect and not informational. I can't say whether the editor did or not though, but I think the main point from what I gathered is that it leaves the ending loose for people who wanted direct and truthful answers from Bob and to reserve their own judgment based on what they saw. The film was not responsible for answering anyone's questions or their beliefs on what is to be true or contradictory to what is said by Bob nor what is written in magazines. It only tried to show how and who he was really like on camera versus what some reporters wrote about him just sitting at their desk being told what to write about. And I thought it had good strategies on indicting the media for misrepresenting the real truth about Bob Dylan.
Like Jamye, this also is one of my favorite documentaries that we have watched. I like that Pennebaker did not have a specific direction in mind. Unlike the Errol Morris documentaries, I did not have to worry that if I missed something someone says, I could potentially lose a key piece of the film. Basically, this documentary did not take itself seriously. It was fun to watch. It seems that today media typecasts celebrities and when they interview them, they are only asking questions that will validate the persona they have created for the celebrity. Likewise, celebrities are told what to say in interviews and very rarely are allowed to say what they want. It was humorous, and nice, to see Dylan say whatever he wanted and leave the interviewers almost speechless. I also liked that Pennebaker added a lot of Dylan onstage to avoid any dullness from watching interview after interview.
I thought the way that Pennebaker decided to film this gave the viewer a deeper look in to how Dylan saw himself. He was constantly differentiating between who he was off stage versus how he was with a reporter or on stage. In being able to see him from both sides we see an internal conflict between who Dylan wants to be and who he is portrayed to be. This style of filming gives more of an unbiased idea of what kind of person Bob Dylan really is.
With cinema verité, I wonder if the subject, at times, feels as though they must propel the action forward, especially when there doesn’t appear to be any entertainment going on. There were two scenes that made an impression on me for specific reasons: one was the “typewriter/Joan Baez singing” scene; the other was the “who threw the glass?” scene. The “glass” scene, although loud and attention grabbing, wasn’t as telling as the “typewriter” scene. To me, it felt as if Dylan was prolonging and instigating the confrontation, which eventually sizzled out and died. On the other hand, the scene at the typewriter, seemingly dull and plain, was more telling of Dylan’s behavior/character. It’s as if the “glass” scene doesn’t fit into the very loose category of cinema verité because it appeared forced. As if Dylan only kept going on because he needed something to show on camera. At the same time, the “unimportant” scene appeared to be quintessential cinema verité: it was unstaged, non-dramatized, non-narrative. For me, much of the “real” behind-the-scenes Bob Dylan was an act -- he still appeared to be putting on a show. The ‘typewriter’ scene was one of the few real portraits I saw of Dylan.
I love Bob Dylan. I'll just come out and say it. This wasn't my first time seeing this film either. Nor my first Dylan documentary, there are several. As far as cinema verité, I don't think you can get much better. Edits were used to make a flow and indeed it did. I may have enjoyed it more because I'm a fan but I also think Pennebaker is a great film-maker. He has done cinema verité documentaries for numerous artists, not just Dylan.
My favorite scene is Bob's music video for subterranean homesick blues as well as his performances. But I much enjoyed how the film starts with his video.
Obviously from Bob Dylan's songs we can agree that he sees things differently then most. He is first a musician and last a musician. He doesn't care for Time magazine or publicity. He was raised during the 60s and 70s and reached out to the masses that were confused teenagers. This film took place during the Vietnam War too, so the time-period is also something to observe. Dylan's fans were primarily Hippys and Beatnicks who rebelled against the government and indirectly the media.
"Come writers and critics Who prophesize with your pen And keep your eyes wide The chance won't come again And don't speak too soon For the Wheel's still in spin And there's no tellin' who That it's namin' For the loser now Will be later to win For the times they are a-changin'" (Bob Dylan 1964)
I enjoyed this documentary even though I am not a really big fan of Bob Dylan. You have to respect how he works though because he virtually works alone, at least onstage that is what it looks like. I believe any film like this is interesting to people who love music regardless who the film is on. You come to appreciate the things the musician goes through from being interviewed or being followed and hounded by fans and paparazzi. There are a lot of edits and cuts that kind of take away from some of the "reality" I would imagine it would have being cinema verite but it gives you the feeling of what Dylan actually goes through, from concert to concert without a break. I like how you never have the voice of the cameraman in the film and you get a feeling he never is verbally involved therefore it does make it a more direct cinema type documentary. All in all I do like the film and I got the feeling that I was actually there and I imagine that is what Pennebaker was going for.
I thought the film was very interesting. I’ve never listened to Bob Dylan other than a song here or there so this documentary was very informing. Everything was new to me and the cinema verité style did a good job of presenting it. As a viewer all you need to do is watch because there’s no need to piece together any kind of narrative. Dylan seems to do a good job of “ignoring” the camera. He doesn't ask Pennebaker where he needs to stand or what he needs to say. He simply does what he always has done and it results in an interesting documentary.
This was one of my favorite documentaries just because I'm a musician myself and I'm fascinated by guitars. I've never heard of Bob Dylan except only his name until yesterday when we watched Don't Look Back in class. I think this was one of the few documentaries I liked watching because it felt like I was watching from a fan's viewpoint and following his life and music. I don't think there was a scheme or hidden agenda behind it. I think Pennebaker was very honest when he said he wanted it to be abstract from a musical aspect and not informational. I can't say whether the editor did or not though, but I think the main point from what I gathered is that it leaves the ending loose for people who wanted direct and truthful answers from Bob and to reserve their own judgment based on what they saw. The film was not responsible for answering anyone's questions or their beliefs on what is to be true or contradictory to what is said by Bob nor what is written in magazines. It only tried to show how and who he was really like on camera versus what some reporters wrote about him just sitting at their desk being told what to write about. And I thought it had good strategies on indicting the media for misrepresenting the real truth about Bob Dylan.
ReplyDeleteLike Jamye, this also is one of my favorite documentaries that we have watched. I like that Pennebaker did not have a specific direction in mind. Unlike the Errol Morris documentaries, I did not have to worry that if I missed something someone says, I could potentially lose a key piece of the film. Basically, this documentary did not take itself seriously. It was fun to watch. It seems that today media typecasts celebrities and when they interview them, they are only asking questions that will validate the persona they have created for the celebrity. Likewise, celebrities are told what to say in interviews and very rarely are allowed to say what they want. It was humorous, and nice, to see Dylan say whatever he wanted and leave the interviewers almost speechless. I also liked that Pennebaker added a lot of Dylan onstage to avoid any dullness from watching interview after interview.
ReplyDeleteI thought the way that Pennebaker decided to film this gave the viewer a deeper look in to how Dylan saw himself. He was constantly differentiating between who he was off stage versus how he was with a reporter or on stage. In being able to see him from both sides we see an internal conflict between who Dylan wants to be and who he is portrayed to be. This style of filming gives more of an unbiased idea of what kind of person Bob Dylan really is.
ReplyDeleteWith cinema verité, I wonder if the subject, at times, feels as though they must propel the action forward, especially when there doesn’t appear to be any entertainment going on. There were two scenes that made an impression on me for specific reasons: one was the “typewriter/Joan Baez singing” scene; the other was the “who threw the glass?” scene.
ReplyDeleteThe “glass” scene, although loud and attention grabbing, wasn’t as telling as the “typewriter” scene. To me, it felt as if Dylan was prolonging and instigating the confrontation, which eventually sizzled out and died. On the other hand, the scene at the typewriter, seemingly dull and plain, was more telling of Dylan’s behavior/character. It’s as if the “glass” scene doesn’t fit into the very loose category of cinema verité because it appeared forced. As if Dylan only kept going on because he needed something to show on camera.
At the same time, the “unimportant” scene appeared to be quintessential cinema verité: it was unstaged, non-dramatized, non-narrative. For me, much of the “real” behind-the-scenes Bob Dylan was an act -- he still appeared to be putting on a show. The ‘typewriter’ scene was one of the few real portraits I saw of Dylan.
I love Bob Dylan. I'll just come out and say it. This wasn't my first time seeing this film either. Nor my first Dylan documentary, there are several. As far as cinema verité, I don't think you can get much better. Edits were used to make a flow and indeed it did. I may have enjoyed it more because I'm a fan but I also think Pennebaker is a great film-maker. He has done cinema verité documentaries for numerous artists, not just Dylan.
ReplyDeleteMy favorite scene is Bob's music video for subterranean homesick blues as well as his performances. But I much enjoyed how the film starts with his video.
Obviously from Bob Dylan's songs we can agree that he sees things differently then most. He is first a musician and last a musician. He doesn't care for Time magazine or publicity. He was raised during the 60s and 70s and reached out to the masses that were confused teenagers. This film took place during the Vietnam War too, so the time-period is also something to observe. Dylan's fans were primarily Hippys and Beatnicks who rebelled against the government and indirectly the media.
"Come writers and critics
ReplyDeleteWho prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the Wheel's still in spin
And there's no tellin' who
That it's namin'
For the loser now
Will be later to win
For the times they are a-changin'"
(Bob Dylan 1964)
I enjoyed this documentary even though I am not a really big fan of Bob Dylan. You have to respect how he works though because he virtually works alone, at least onstage that is what it looks like. I believe any film like this is interesting to people who love music regardless who the film is on. You come to appreciate the things the musician goes through from being interviewed or being followed and hounded by fans and paparazzi. There are a lot of edits and cuts that kind of take away from some of the "reality" I would imagine it would have being cinema verite but it gives you the feeling of what Dylan actually goes through, from concert to concert without a break. I like how you never have the voice of the cameraman in the film and you get a feeling he never is verbally involved therefore it does make it a more direct cinema type documentary. All in all I do like the film and I got the feeling that I was actually there and I imagine that is what Pennebaker was going for.
ReplyDeleteAshley Smith
I thought the film was very interesting. I’ve never listened to Bob Dylan other than a song here or there so this documentary was very informing. Everything was new to me and the cinema verité style did a good job of presenting it. As a viewer all you need to do is watch because there’s no need to piece together any kind of narrative. Dylan seems to do a good job of “ignoring” the camera. He doesn't ask Pennebaker where he needs to stand or what he needs to say. He simply does what he always has done and it results in an interesting documentary.
ReplyDelete