It works as a movie, but...
I know, I know, it came out months ago, but it just hit Hulu and...
When the buzz is gone it's hard to motivate oneself to watch a movie, but oftentimes most people see a flick when it's available to stream.
So...
The cinematography is amazing. I only wish the early sixties felt like this. But the mood created is excellent.
And Ed Norton is phenomenal as Pete Seeger. Not that I encountered Pete much in life, although I did see him live on a number of occasions. There's the subtlety, the warmth and the optimism.
As for Timothée Chalamet's portrayal of Dylan...WHAT'S EVERYBODY TALKING ABOUT!
So Chalamet is internalized He's quiet. But his portrayal just doesn't ring true. You see there's tons of footage of the real Dylan but this guy looks like an actor trying to play the role of someone he doesn't fully understand. Sure, the hair is right, especially as the years go by, but there's not that alternating personality of anger and charm, the raw intensity that Dylan exuded.
Dylan was one of a kind. Incredibly hungry. Chalamet is a guy who believes if he just stares long enough, if he just treats women badly, if he just says no instead of yes, that's all there is to Bob Dylan, WHEN NOTHING COULD BE FURTHER FROM THE TRUTH!
As for the famous Newport Folk Festival scene... Utter hogwash. Sure, Pete was not happy at the gig, but the audience was not booing, Joe Boyd, who was there working, said they enjoyed it.
As for Albert Grossman... Here he's portrayed as a doofus as opposed to an intense guy who radiates intelligence. Sure, Dylan ultimately fired Grossman, but sans Grossman there's no Dylan. Albert got the songs covered, he garnered attention for Bob.
As for Suze Rotolo, portrayed as "Sylvie" here... Why is she so dour? Like the early sixties and her relationship with Bob was never fun.
As for Monica Barbaro's portrayal of Joan Baez, that rings more true. Then again, that inner confidence that Baez possesses, and possessed all the while, is not wholly evident. Here Baez is more of a pawn in Bob's game.
As for the made up scenes...
Once again, it was all for the narrative, for a movie.
But when you make a movie about Ritchie Valens, there's not that much footage, it's all myth except for the records. It's a bit better for Buddy Holly, but both were creatures of the fifties, whereas Dylan was a creature of the sixties.
And Chalamet looks so uncomfortable on his motorcycle you can't stop wondering where his helmet is because you know he's going to fall off.
Dylan might have been angry, might have wanted to do it his way, but he had an inner tuning fork and comfort in his own skin that was undeniable. Chalamet is an actor, Dylan is a musician, and maybe that's all you have to say. (Along with the fact that so many of Dylan's films were borderline unwatchable, but he was pretty good as Alias in "Pat Garrett & Billy the Kid.")
And there was miscasting... If you know Al Kooper, he's nothing like the guy playing him in the film. And Al has gone on record everywhere that he snuck into the studio to play the organ, no one mentioned that there was no one on the bench, but they couldn't even get that right.
As for Johnny Cash... The guy playing him was a two-dimensional tree, it's a disservice to Cash himself.
All these liberties bugged me. All these changes for the benefit of narrative. I mean if this were pure fiction it's one thing, but there is an underlying fact pattern. How come they don't respect Dylan enough to get it right?
But if you're unknowledgeable, if it's all new to you, you'll enjoy this flick. Just know that too much is inaccurate.
HOWEVER, if you are an artist, there is inspiration in this film. If you're a creator you cannot not be impressed by Dylan's work ethic, his need to be true to himself and constantly test limits. This is not the easy path, but road to true greatness never is. This is where Grossman's efforts come in.
I guess I was disappointed. All the buzz, all the Oscar hysteria, I expected a movie that rang more true, never for a second did I consider anybody in this flick to be real, they didn't inhabit the characters, they were PLAYING the characters.
Except for Norton.
Even Woody Guthrie was miscast, and he barely even spoke!
This is what's wrong with movies, this is what music used to get right before the execs started to believe they were the acts and meddled with the product, insisting on cowriters, endless mixes... That jolt of pure honesty, of pure artistry, has been excised.
Of course it still exists in the indie world, but no manager has the power of Grossman today, you can't make anybody an icon quickly and easily.
Then again, Dylan was the product of a middle class upbringing. He was on a mission. Don't ever think he wasn't interested in money, but making a statement, speaking truth to power, having an impact were more important.
And he couldn't believe the press was so stupid. He thought when he made it people would get it. Many didn't.
Those early Dylan albums are still as raw and honest and insightful as they were when they were made. They don't sound dated because they were sui generis back then. And oftentimes just Bob and his guitar anyway. If you really want to get it, understand who Bob was, you're better off listening to a record as opposed to watching this movie. And I've got just the one you need to play. Everybody talks about "The Bootleg Series Vol. 4: Bob Dylan Live 1966: The 'Royal Albert Hall' Concert." And that is good, but that's post electric. If you want to hear the authentic Dylan from the period in this flick you need to listen to "The Bootleg Series Vol. 6: Bob Dylan Live 1964 - Concert At Philharmonic Hall."
This is the sh*t. It's just Bob and his guitar. You get the power of the protest numbers, the intensity of the performance, but along with the attitude you also get humor.
And I listen to it on a regular basis.
Sure, watch the movie, but if you want to know which way the wind blows, listen to this:
open.spotify.com/album/2iM5ZikFu4dvZLHZRwWiLY?si=MRs27jbOQG-7hGhNDskfmQ
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