It took Pennebaker two years to get anyone to show the film in public; he eventually found a porn-theater operator in San Francisco to give it a screen in a small moviehouse, where it ran for over a year. The litany of put-ons and put-downs captured on film still drop jaws. The all-access pass we get still feels thrillingly, and sometimes uncomfortably intimate.
Don't Look Back
See: Donovan. You are there in the backrooms as Albert Grossman negotiates deals and in the middle of entourage banter. You are there next to Dylan, getting impatient with reporters, goofing with Joan Baez and Bob Neuwirth, and almost catching up to that thin, mercurial sound he was chasing.
You are there because Pennebaker was there. The filmmaker, who died of natural causes on August 1st at the age of 94, had a knack for being at the right place at the right time, his finger on the Arriflex trigger. He knew that the closer you could get, and the more you could blend into the scenery so the subject forgot you were there, the more likely you were to capture something akin to truth 24 frames per second.
Donn Alan Pennebaker had originally studied to be an engineer before a brief apprenticeship with Francis Thompson led him to nonfiction filmmaking. Early works, like Daybreak Express and Baby were essentially experimental shorts, with the former demonstrating a nice blend of music and image and the latter proving to D. They made Life magazine foot the bill.
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Hendrix setting his guitar on fire. The Who smashing their gear. Otis Redding and Janis Joplin, in all of their ragged soul-shouting glory. Welcome to the Sixties.
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Have a nice trip. They form their own separate canon.
- Welcome to Kanopy Kids!!
- Movies in Theaters.
- Bob Dylan - Dont Look Back - parte 1/3 - Video Dailymotion?
- Making the Social World: The Structure of Human Civilization!
- Wittgenstein and Derrida?
- Don't Look Back.
Ziggy Stardust and the Spiders From Mars, Down From the Mountain, And with Depeche Mode , Pennebaker and Hegedus had the foresight to embed two fellow filmmakers on a bus that was taking a gaggle of teen-to-twentysomething superfans across the country to that Rose Bowl show, capturing all of their interactions and arguments and drunken revelry. An IRL star is born. It took Hegedus convincing D.
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But the fly-on-the-wall footage that follows is every bit as memorable, alternating between Dylan performing both onstage and behind the scenes and Dylan sparring with fans and the British press. He was all of 24 years old, and at or near the height of his popularity one could make a case for and Blonde On Blonde as the zenith ; that we have such a candid record of his life at that moment is a true gift. But Dylan is clearly aware of the camera at all times, and while there are a few scenes when he seems too relaxed to be consciously acting, one can never be too sure.
Dont Look Back captures Dylan at his most charismatic, and arguably at his most arrogant.
Don’t Look Back
Its most famous scene, apart from the opening music video, shows him ostensibly being interviewed by Horace Freeland Judson, a London correspondent for Time. Judson can barely get a word in as Dylan heaps abuse on the magazine and on mainstream journalism in general, and while our hero makes a few worthwhile points—notably regarding how much Time and its ilk have to lose by printing the unvarnished truth—he also oozes smug condescension.
All you could do, you could nod your head.
His romance with Joan Baez was more or less over by this point, but they nonetheless seem perfectly at ease around each other. Pennebaker surely shaped the material he captured over these few weeks, but his primary virtue is simply to have chosen a great subject and then stayed out of the way.