Every film that has ever been nominated for an Academy Award in any category. Enjoy!
I'm Not There.
Ruminations on the life of Bob Dylan, where six characters embody a different aspect of the musician's life and work.
Cloud Atlas: Bob Dylan Edition
I'm Not There sounds like an interesting concept on paper.
Six different actors playing different versions of Bob Dylan, one of them an African American child and another a woman. (Due to Dylan being a white male).
And it starts off pretty well.
Marcus Carl Franklin acted really well, especially for a 14 year old (at the time).
But the more the film went on, it got a lot more confusing and weird.
I really don't mind films being complex. Some films especially take time, even after the ending, to make sense.
But sadly, I'm Not There. simply is all over the place.
There is nothing really connecting all the different versions.
I understood that they represent different times in…
I never realized Bob Dylan was 1/6th female
Todd Haynes' gift is not that he's a maniacally detailed biographer — he is, but that's not his gift. No, what's really a treasure here is the way Haynes can fully accept and celebrate the mythology surrounding a public figure, whether it's self-made or not, while still teasing out the points of connection between that mythology and "real life". Not only that, he takes considerable risks as a filmmaker in order to depict those nexus points in meaningful and interesting ways, coming right out the gate with the simple but devastating decision to shoot Superstar: The Karen Carpenter Story with Barbie dolls. Velvet Goldmine is a very good film, but because David Bowie refused to let his music or name…
I'll admit, I'm not the biggest Bob Dylan fan on the planet. Don't get me wrong, I love his music, but I'm not one of those hardcore devotees who know everything there is to know about the man. I was kinda hoping that this film would make me a bigger fan while also giving me new insight into the man behind the music. I was wrong.
It's not a bad film. It's just a film that would appeal more to die hard fans of the music. Like a thank you to all of Bob Dylan's long time devotees while also paying tribute to Dylan. Anyone who doesn't already understand his life or ay least who Dylan was will probably get…
I love how Todd Haynes knows that Bringing It All Back Home/Don't Look Back-era Dylan is the one we're waiting to see, particularly as played by Cate Blanchett, so he saves that one until almost an hour into the movie, letting us sink into the earlier and subtler representations of Dylan first. That said, Blanchett's Dylan is the most entertaining part of the movie, and it kicks into high gear as soon as she makes her entrance. The other chapters are more challenging - honestly, while the one featuring Richard Gere as Billy the Kid in a semiotic fantasyland is certainly haunting, I still can't decipher it after four or five viewings. They're rewarding, though, however much you know (or…
"I'm Not There." is the best musical biopic ever made.
This is precisely due to the fact that Todd Haynes exposes, brutally, the lie inherent in all other films about musicians, the idea that, at any point the public was ever seeing the "real" person behind the music. Haynes knows that these people are constructions, carefully curated images meant to match the music. No one ever says the name "Bob Dylan," but we see people who look like him, and music that sounds like his, and names that could be his. Everything about Dylan is a reflection, his messages impacted by the culture around him, but not necessarily "his." In its own way, "I'm not There" reaches the profound truth…
This would easily be one of the best biopics ever made were everything bar the Cate Blanchett segments edited out.
"Chaos, Clocks, Watermelon"
I love how this is a movie basically only about Bob Dylan and nothing else, specifically made for the small audience that are hardcore fans of both Dylan and cinema. On my fourth go 'round this movie still makes my head spin from not knowing whether to read it through the Dylan references, the cinematic references (is Haynes comparing the Robbie/Claire relationship to Godard/Karina from the same time period and if so how is he the accused sexism of both Godard and Dylan?), the connections between the storylines, the dissembling of symbols, aaaaaand I've just missed the past 10 minutes of the movie trying to figure it out.
Occasionally a bit on the nose, especially…
At times difficult to follow, but mostly interesting. Blanchett in particular is great.
Haynes' magnificent Americana prism, refracting Dylan through different idioms, eras, styles, demanding closer inquiry to myth and truth. Unstoppable. [A-]
It's an imaginative-biography of Bob Dylan played by numerous actors and an actress.
For the whole picture, it was good. But, for each perspective of each story played by each actor, two things that I love about it, Ben Wishaw and Cate Blanchett.
I mean, come on, it's too imaginative, I have no idea which one was real. But, surely, Ben Wishaw nailed that so-limited time on screen to be Bob Dylan.
I kind of wish Cate Blanchett played all the roles.
Even though reason dictated that it would never be pulled off, Haynes delivers here the film that Velvet Goldmine suggested he had in him. An incredibly dense and controlled work, it almost boggles the mind that someone was able to conceive of this thing. It would be almost exhausting to experience were it not continually rewarding your attention with implicit connections that resonate throughout its parallel threads and its innate sense of self-aware playfulness. It works on too many levels to reduce down to a single theme, but I find its notion that individual change is constant and ideal, and how uncomfortable that notion makes the world, especially insightful.
Nullib kõik tüüpilisele eluloofilmile osaks saavad etteheited. Selle asemel, et püüda mahutada ühe inimese elu (eriti veel kunstniku) teatud raamidesse ja loogilisse kronoloogiasse, embab Haynes kaost ja enigmat, milleks on Bob Dylan. Haynes muidugi keerab vinti veel üle ja võimendab seda kaost pannes Dylanit kehastama kuus kardinaalset erinevat näitlejat, erinevat nii soos, vanuses, nahavärvis ning filmides neid täiesti erinevates stiilides.
Kui üldse, hägustab see Dylani isiksust veelgi. Ja selles ongi asja mõte.
Geniaalne ja haruldane teos.
People are always talking about freedom. Freedom to live a certain way, without being kicked around. Course the more you live a certain way, the less it feels like freedom.
Me, I can change during the course of a day. I wake and I'm one person, when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time.
The 2015 edition of the They Shoot Pictures, Don't They? 21st Century's Most Acclaimed Films list.
Incomplete data forced the…
The Coen Brothers, Quentin Tarantino, Martin Scorsese, Hou Hsiao-hsien, Steven Spielberg, Apichatpong…