The definitive film on Dylan is still D.A. Pennebaker's 1967 documentary "Dont Look Back," parts of which are integrated into this Martin Scorsese look at the ambiguous musical genius. But this documentary is on target also, looking at Dylan from his beginnings till the time he became a pop music icon and a darling of the anti-establishment pseudo-intellectuals. To Dylan's credit he was able to stay clear of ideological labeling and crass commercialization. His mock interviews were quite the opposite of Elvis' choir boy type imaging, although in truth Elvis was as much a rebel as Dylan and the two obviously admired each other. How far the press would go is well illustrated in "No Direction Home" when a shallow media mind virtually orders Dylan to suck his sunglasses while he shoots the pose. Not to be nonplussed, Dylan pokes the sunglasses in the news hound's face indicating he could suck them himself.
PBS divided Scorsese's film into two parts on separate weeks. The first part is strong on the roots of the folk revival movement in the United States, a climate that made Dylan possible. Archival footage of these early folk singers show much talent and much amateurism. One of the best clips highlights the Clancy Brothers and Tommy Macon at the height of their popularity in their turtle-neck sweaters with Tommy warbling the mournful "Butcher Boy, aka Railroad Boy," one of their best selections. Dylan at The Newport Folk Festival is emphasized, especially the time he shocked his fans by going electric.
Part 2 of the documentary then focuses on Dylan when he reached the height of popularity with "Like a Rolling Stone," from which the title "No Direction Home" is derived. In an interview on PBS following the showing of Part 2, Scorsese explains that he knew nothing of Dylan personally until "Like a Rolling Stone" began to dominate the airways. So much of what is shown in the documentary is new for Scorsese as well as for many of the viewers: New discoveries of one of the seminal musical figures of the 20th century. Basically, the time-frame of "No Direction Home" ends with Dylan's legendary motorcycle wreck which led many a fan to believe their idol was dead.
There is much raw concert footage of Dylan in London and elsewhere that alone is worth the viewing. This is an especially entertaining look at Dylan for his fans who liked his music from the start. For others, it shows what they missed but can now enjoy vicariously.
On a personal note: I was in college when Dylan began to ooze out of the vinyl. I remember strolling through one of the dorms at Arkansas State and hearing "Talking World War III Blues" meandering from one of the rooms. The first song I ever heard Dylan sing was "Blowin' in the Wind" on a compilation album released by Columbia that contained only one Dylan song plus his harmonica accompaniment on Carolyn Hester's "Swing and Turn Jubilee." There were plenty of liner notes to help introduce me to folk music. From hearing Dylan, I thought he was an old man. His voice seemed shaky and unsure of itself. I reasoned maybe he had been re-discovered from the 20's or 30's like Mississippi John Hurt. Once becoming a Dylan junkie, I stayed with him and still like his music.
The thrill of seeing him in person in Memphis around 1979 is hard to explain. He did a full show with his band. The part I loved best was when he came on stage with just his acoustic guitar and harmonica and did some of his early sounds. I also remember someone in the audience who was stoned throwing a bag of reefer onto the stage. Dylan sashayed over in a nonchalant way, still singing and playing, and kicked the bag off. When I went to the privy, several Dylan fans were ODed on the floor. The pot smoke encircled the crowd but I don't recall any incidents with the police or otherwise. Dylan put on a great show.
PBS divided Scorsese's film into two parts on separate weeks. The first part is strong on the roots of the folk revival movement in the United States, a climate that made Dylan possible. Archival footage of these early folk singers show much talent and much amateurism. One of the best clips highlights the Clancy Brothers and Tommy Macon at the height of their popularity in their turtle-neck sweaters with Tommy warbling the mournful "Butcher Boy, aka Railroad Boy," one of their best selections. Dylan at The Newport Folk Festival is emphasized, especially the time he shocked his fans by going electric.
Part 2 of the documentary then focuses on Dylan when he reached the height of popularity with "Like a Rolling Stone," from which the title "No Direction Home" is derived. In an interview on PBS following the showing of Part 2, Scorsese explains that he knew nothing of Dylan personally until "Like a Rolling Stone" began to dominate the airways. So much of what is shown in the documentary is new for Scorsese as well as for many of the viewers: New discoveries of one of the seminal musical figures of the 20th century. Basically, the time-frame of "No Direction Home" ends with Dylan's legendary motorcycle wreck which led many a fan to believe their idol was dead.
There is much raw concert footage of Dylan in London and elsewhere that alone is worth the viewing. This is an especially entertaining look at Dylan for his fans who liked his music from the start. For others, it shows what they missed but can now enjoy vicariously.
On a personal note: I was in college when Dylan began to ooze out of the vinyl. I remember strolling through one of the dorms at Arkansas State and hearing "Talking World War III Blues" meandering from one of the rooms. The first song I ever heard Dylan sing was "Blowin' in the Wind" on a compilation album released by Columbia that contained only one Dylan song plus his harmonica accompaniment on Carolyn Hester's "Swing and Turn Jubilee." There were plenty of liner notes to help introduce me to folk music. From hearing Dylan, I thought he was an old man. His voice seemed shaky and unsure of itself. I reasoned maybe he had been re-discovered from the 20's or 30's like Mississippi John Hurt. Once becoming a Dylan junkie, I stayed with him and still like his music.
The thrill of seeing him in person in Memphis around 1979 is hard to explain. He did a full show with his band. The part I loved best was when he came on stage with just his acoustic guitar and harmonica and did some of his early sounds. I also remember someone in the audience who was stoned throwing a bag of reefer onto the stage. Dylan sashayed over in a nonchalant way, still singing and playing, and kicked the bag off. When I went to the privy, several Dylan fans were ODed on the floor. The pot smoke encircled the crowd but I don't recall any incidents with the police or otherwise. Dylan put on a great show.