A Digression Into Dylan

I like to view my film viewing process as almost like a continous path from one movie to the next, trying to discover the connection. Like a linear tale told in segments and I must figure out the secret clues and overlapping themes. Granted, we interpret films though our own experiences and can easily identify with anything if we look hard enough for the pattern.

One obvious trend in my viewing pleasure has been musicians and, to be more specific, Bob Dylan. There have been three films in the last month or so on the iconic 60's figure that have been filmed for me to graciously ponder. Here's a small synopsis of the Dylan canon in the last year.

The first film was the documentary No Direction Home, by Martin Scorcese. It captures a short time span in Bob Dylan's history from is early years to when he first went electric and the backlash that eventually led to his disappearance from the public eye. It presents Dylan as a tortured soul, a victim of his own genius. As a writer, I relate to the conflict of the man as he tries to come to terms with what he wants to do, which is be famous, with the man everybody else wants him to be, which is the messiah to lead his people in protest. It's the classic tale of a reluctant hero, only this hero is pushed into seclusion.

The next film to use Dylan as a reference, albeit, a conglomeration that's 98% Dylan, is Factory Girl, the tale of Warhol's Edie Sedgwick. In another tale of the pursuit of fame leading to madness, Edie befriends the Dylanesque folk singer and a love triangle forms. Dylan, here, is also a tortured soul, but the point of this movie is Dylan's actions indirectly lead to the destruction of another human being. It's a great movie to see if you've always wondered about minor characters and how they might have turned out, if given their own movie.

The third movie is by far the most interesting and detailed exploration of cinematic experimentation I've seen on the legend we know as Bob Dylan. Instead of sticking to one character, I'm Not There, offers six characters who explore who Bob Dylan is and how the many sides to the man can be more interesting than just sticking to one plot line. Like I said, this is cinema pushing the boundaries on what can be done, including having a woman play Bob Dylan.

The lesson I took from I'm Not There, is that nothing is sacred. You don't have to tell a linear story with one theme. Much like an ensemble movie, if it's well written, than it works. And to take the nothing-is-sacred advice a step further, stepping on toes when it comes to political or religious views might be where you need to go to get your point across. There's a line in the movie that I absolutely loved. Cate Blanchet is Dylan and he's hanging with David Cross as Allen Ginsburg (you heard me right). Together the two of them stare up at a crucifix of Jesus. Cate yells out, "Play your early stuff!"

It may be sacrilegious, but it gets the point across.