Alas, I’m not going to be around (and my limited discretionary funds for concert-going was already spent on R.E.M. tickets), but if you live in NYC and you’re looking to wash the taste of Masked and Anonymous out of your mouth, Dylan’s playing the Hammerstein Ballroom August 12-14. Should be grand.
Tag: Bob Dylan
Ballad of a Thin Man.
So I went down to the Angelika yesterday afternoon (always a strange experience – you can hear and feel the subway running under you during films) to catch Masked and Anonymous and, well, I can only recommend this film to two types of people: Hard-core Dylanologists, and those cinema completists who need to see Ed Harris in blackface. I consider myself a pretty heavy-duty Dylan fan, and even I was a bit bored at certain points. The movie is basically Dylan’s version of Waking Life, or what might happen if Bob had entered his own portal a la Being John Malkovich. All of the characters in the film speak in Dylanistic soliloquys (You actually get a very good sense of this from the website), and thus you end up with Giovanni Ribisi’s disquisition on war, Val Kilmer’s take on animals, etc. The movie takes place in a strange alternate present, where (I’m guessing) the revolutions of the Sixties went sour and ended up tearing the nation apart. Dylan’s dad seems to be the ailing leader of the Bearflag Republic or something, and…well, there’s no point in trying to explain it.
The movie is basically an extended riff on Dylan and Dylania…at (brief) moments it has the scope and absurdist grandeur of “Desolation Row,” “Idiot Wind,” or “It’s Alright Ma.” And some of the renditions of Dylan’s music, from the new “One More Cup of Coffee” to the acapella “The Times, They Are a Changin’” are truly beautiful. Most of the time, however, it fails to capture Dylan’s spark, and comes off flat and, well, embarrassing (particularly in some of the more questionable racial choices.) I think the extended monologues on life, death, and humanity are meant to have you dwell on the fundamental questions, but as the movie wore on I found myself contemplating altogether different queries: Did Chris Penn eat one of the Baldwins? Who would win in a caged deathmatch between Penelope Cruz and Audrey Tautou? Who knew it would end so badly between Walter and the Dude? When did Mickey Rourke turn into Billy Bob Thornton? So on, so on. I guess I’d recommend that Dylan fans see this film (particularly if you’ve sat through Renaldo & Clara), just to see where our man is at these days. (In fact, some Dylan fans seem to love it.) All in all, though, I can’t say I recommend the film as a film.
On another note, in the two hours I had to kill between this movie and seeing a friend’s (very good) band at the Baggot Inn, I stumbled upon a huge line at Tower Records, dutifully waiting to get Dave Gahan‘s signature. Times change, I guess. Ten years ago, I probably would have staked out this line with a handful of vinyl 12″ DM singles. Nowadays, I just skipped it in favor of Forbidden Planet and The Strand. Must be getting old.
The Man in Me.
A Japanese writer finds himself quoted in Dylan. Sounds like he’s got the right attitude about it…I wouldn’t think this really constitutes plagiarism.
Lone Star.
Mama, take this badge off of him – He can’t use it anymore. Two New Mexico lawmen aim to find out if Pat Garrett shot Billy the Kid or the wrong man in 1881. Does this mean James Coburn should’ve shot Dylan at the end of the movie instead?
These Days.
The LA Times checks in with REM as they gear up for a fall tour, pay their respects to Dylan, and talk about what songs they’ll never play again. “Shiny Happy People” is no surprise, but I always kinda liked “Pop Song 89.”
Marty and Zimmy.
Martin Scorsese signs on to create a Bob Dylan documentary not unlike The Last Waltz. Cool…I assume this’ll be Marty’s next project after The Aviator.
Crossing Dylan.
Ethel the Blog points the way to a remarkable confluence of two of my favorite things: the freewheelin’ Bob Dylan and ADA Claire Kincaid. Apparently, the lovely Jill Hennessy sings “It’s All Over Now, Baby Blue” on the recently released T-Bone Burnett-produced soundtrack for Crossing Jordan. Other potential standout tracks (not by Hennessy) include covers of VU’s “Pale Blue Eyes”, Dylan’s “Buckets of Rain,” Donovan’s “Season of the Witch,” and The Kinks’ “Days” (Also covered by Elvis Costello for the Until the End of the World soundtrack.) Right now, there’s no sign of any of these tracks on Kazaa, not that I’ve checked or anything. To be honest, I’ve never watched Crossing Jordan – from afar, it looks awful. But that doesn’t speak any less of the late Ms. Kincaid…for two seasons there, Jack McCoy was a lucky, lucky man.
Rolling down the road.
Bob Dylan’s Never-Ending Tour continues in the spring of 2003. If you live in the South, you might want to check out these dates.
Forever Young.
Looks like Bob Dylan’s film career is taking off. Aside from Masked and Anonymous (blogged the other day), Zimmy’s also given his blessing to the Todd Haynes biopic project.
Pat Garrett II: Lily, Rosemary, and Jack Fate of Hearts.
Sundance premieres Masked and Anonymous, Bob Dylan’s return to the big screen. I’d heard about this project awhile back, but I hadn’t realized it was actually filmed and in the can. I’m very curious…it’s got a stellar cast, and Zimmy, of course. I could see this being really interesting or really embarrassing, but if nothing else comes out of it than introducing me to that Italian hip-hop version of “Like a Rolling Stone” on the first clip (found on Google/Kazaa as “Come una pietra scalciata” by Articolo 31), it’s been worth it.