Rolling Thunder Revue movie review: If You See Him, Say Hello


The publicity was done through fliers distributed the same day to the people and Dylan, the troubadour, wore his white make-up mask and a hat with a bunch of flowers sitting on top of it, and sang, I met a white man who walked a black dog…. Yet no one writes about reality the way he does. For the fans, it will be a roller coaster ride. “When somebody’s wearing a mask, he’s gonna tell you the truth. By doing this Scorsese keeps alive the idea of Dylan’s history of concocting his own life story and shying away from the world all his life. This segment, like a slew of bits and pieces in the film, is a charade, and sometimes makes us want the good old real-documentary format back. Rolling Thunder Revue is not just about those 57 shows and the songs Dylan sang. It’s a hard rain’s a-gonna fall in tiny but packed venues. Besides the idea that the film is presented as the work of a fake filmmaker Stefan Van Dorp, played in the film by performance artiste Martin von Haselberg, also Bette Middler’s husband, Scorsese puts Sharon Stone in the mix. One who plays wolf, one who contemplates, and the one who will remain a soundtrack to our lives. She, in pure documentary style interview, paired with black and white photos of her, talks about being a young 19-year-old aspiring movie actor, who, in 1975, was on the same tour with Dylan. When he’s not wearing a mask, it’s highly unlikely,” says a 78-year-old Dylan in filmmaker Martin Scorsese’s Rolling Thunder Revue: A Bob Dylan Story. Advertising

Rolling Thunder Revue: A Bob Dylan story cast: Bob Dylan, Joan Baez, Ronee Blakley, Sharon Stone
Bob Dylan is unreal. She elaborates on her eyes tearing up when she figured that Just like a woman, despite Dylan telling her in his raspy voice and churlish style, was not about her. Advertising

The film has been strung along with the footage that was shot during the tour by cameraman Howard Alk, who was hired by Dylan in 1975 to create a project that was never eventually turned into anything. Other fictional characters include Michael Murphy as Congressman Jack Tanner and Paramount Pictures CEO James Gianopulos as the band’s tour promoter. “It’s about creating yourself.” It can be called a masterstroke in some ways, but it is also exasperating and perplexing at the same time. He tailors his filmmaking to the idea of Dylan that we have come to understand as elusive. The concerts were all held in smaller venues and had the group of musicians, poets, reporters and photographers among others traveling on a tour bus with Dylan as their driver, literally and otherwise. But Scorsese is a true Bob Dylan aficionado and harbours the musician in his heart. That song and that tour and those lines were significant elements in overturning that verdict, which was based on racism. Hurricane was a protest song about the boxer Rubin “Hurricane” Carter, who was falsely jailed for murder. Stone was never on the tour and was 17 at the time. Now all the criminals in their coats and their ties, are free to drink martinis and watch the sunrise/ While Rubin sits like a Buddha in a 10-foot cell, an innocent man in a living hell. Carter was an Afro-American. It is a chronicle of the 57-show 1975 tour of Dylan in the US and Canada, in which one of the greatest songwriters of our time showed up in white face make-up, alongside a constantly shifting and extraordinary list of collaborators — Joan Baez, Roger McGuinn, Joni Mitchell, Jack Elliott, Ronee Blakley, and violinist Scarlet Rivera. The final section of the two-hour-20 minute documentary is about the song Hurricane, which is also where one’s heart lets loose. One who has a song for everything. If he scrapped various myths the world had come to believe about the musician in his 2005 documentary No Direction Home and captured the truth about Dylan, who for a change, didn’t elude the interviewer, in his recent endeavour Scorsese adapts to Dylan’s shifty world and blurs the boundaries between fact and fiction. Scorsese plays with the Dylan myth in this film, even savours it. “Life isn’t about finding yourself or finding anything,” says Dylan in the film. So is this mask-wearing crooner of reality Dylan real or is it the one flirting with Stone? Buried in all the goofiness is the legend of Dylan, one who lets us see what he wants us to. That would be delicious too, yes. In Scorsese’s hands, it turns into something unexpected. 0
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