Cate Blanchett to play Bob Dylan in an upcoming film.

i have some friends in this (shot in mtl). so curious

I PLAY JESUS FREAK DYLAN GUYS FYI

"a Finnegans Wake-like meditation on Sixties film culture.... (which)says, among other things, that the presence of politics in works of art, like the presence of the artist's personality, is at once unavoidable and virtually inexpressible. The audacity, beauty, and complexity of Haynes's ironic celebration-and-critique are, quite literally, unlike anything you've ever seen before."

http://www.filmlinc.com/fcm/so07/imnotthere.htm

Cate wins Best Actree @ Venice

http://www.bloomberg.com/apps/news?pid=20601088&sid=aJz_JH9KFElQ

Sixties cinema was always already influencing the cultural-political reality from which Dylan sprang.

yeah well done i read hoberman too.

this is complete dangerous nazi shit btw, as is the godard quote about aesthetics and ethics.

alarmist much?

article binds together numerous bits of contemporary (though very old) rubbish.

I’m Not There joins Inland Empire, Zodiac, Syndromes and a Century, and I Don’t Want To Sleep Alone as part of a recent and broadly convergent body of work that revises, questions, and sometimes even tosses out narrative fictional structure, in light of our increasingly collective transnational digital culture.

throwing out narrative fictional structure was last daring in about 1922. 'transnational' is or hopefully was a big buzz-word in film academia, but wtf is meaningfully 'transnational' about 'zodiac', and what has it to do with collective, digital blah-blah?

I think he meant Disturbia.

y u hate fun

xpost

I don't even see where that quote claims "tossing out narrative fictional structure" is "daring".

guys, bob dylan is boring.

i did stand in line with cate blanchett at a patisserie in north sydney once. shes cute and not bob dylan like at all.

i think the implication is plain.

i suppose i am so BORED with

-godard
-debord
-deleuze
-warhol
-mcluhan

as '60s godheads. and when they're served to me by the writer of '48 hrs', something weird is afoot.

i hope the film is less leaden than 'velvet goldmine' and less derivative than 'far from heaven' and less suburbophobic than 'safe'.

xpost

'derivative'

Thanks for telling us how bored you are; we are edified by your boredom.

-_- ~~~ zzzzzzzzzzzz

I got my tix before remembering this was Haynes, but hopefully the actors will subdue him.

'psycho 98' > 'far from heaven'

pretty damn good, a must-see unless you HATED Velvet Goldmine (or Dylan); like that, its ambition exceeds his grasp, and hooray. Cate and the young kid are most mesmerizing. Billy the Kid (Gere) and Heath-Charlotte plot least rewarding. Looks, sounds great -- see it on the biggest screen possible (assuming that's even an option in yr town).

Malkmus sings for Blanchett!

i am pretty much 100% with you there morbs.

dylan hanger-on who gets dressed down by blanchett and hick type on the side of the road gere talks to are both local actors and friends of mine.

I really want to see this, but it's not showing anywhere near me.

This is why torrents are good?

NYT Magazine piece running tomorrow

pretty damn good, a must-see unless you HATED Velvet Goldmine (or Dylan); like that, its ambition exceeds his grasp, and hooray.

that sounds very much what i expected and makes me happy to hear. todd haynes + dylan is like a movie genetically engineered just for me.

I didn't know that it had been largely shot in and around Montreal til that Times Mag piece.

Also, Harvey Weinstein thinks Gere segment doesn't work. Even a porcine grubby mogul is right once in awhile...

Soundtrack has usual hip rockers (Calexico, Yo La T, Sonic Youth) a la VG, only this time they're doing actual Dylan songs instead of glam pastiches.

it's not showing anywhere near me.

It doesn't even open in NYC til Nov 21.

she tells Charlie Rose she heard he drives a yellow Hummer with a "World's Greatest Grandda" bumper sticker

btw, Julianne Moore kills w/ Joan Baez caricature

I'm guessing it's not gonna help that he picked someone annoying to play someone annoying

yes, David Cross is good too

Collection of related links thus far, including Ann Powers chasing down every biog reference that appears in the film that she can:

http://daily.greencine.com/archives/004883.html

What the hell happened to Cate Blanchett?

I had NO idea this was going to open in so many theaters. Suburbanites better brush up on those semiotics.

Tony Scott, gibbering with excitement

Not surprisingly, this hasn't opened here yet; I'll have to watch No Country For Old Men tonight.

Also: can Morbz confirm whether Christian Bale (coiffed like John Fogerty) is as hot as he looks in that picture?

purty hot

no one had this for T'giving dessert?

It opened today -- will go tomorrow.

My local daily's tepid review.

i liked this as much as i expected to, which was a lot. i didn't like it more than i expected to, which is mildly disappointing. but only mildly. (and i actually liked the richard gere sequence fine; the heath ledger segments were the ones i thought droned on a bit, finely decorated tho they were.) i can't really imagine the effect on dylan novices (much less dylan-haters, but i guess they're not going to see it anyway).

looked great, all of it. sounded great too of course.

i'm something of a dylan novice (ie i like the handful of songs i've heard but have never listened to an entire album of his in one sitting)* and i thought this was really awesome. like morbius said, ambition exceeds grasp slightly but i'm willing to award it points for its sheer audacity. i agree also about the heath ledger bits** dragging on somewhat but cate blanchett was stunning and the movie as a whole just looks really beautiful. haynes really has a knack for making semiotics seem sexy.

*correcting this ASAP btw
**nb not "ledger's bits" which i thought were well-worth the $10.50 hem hem

haha I loathed Velvet Goldmine (and hate the soundtrack to this movie) yet I think I'll see it anyway, just 'cause

i love velvet goldmine and i think the best parts of it are more fun than i'm not there. but this one's put together more sturdily. (feels less made-up-in-the-editing-room.)

Seeing this tonight.

now i would like to see a movie about bob dylan's use of helvetica please

this looks like six kinds of awful movie all rolled up into one. i completely don't understand why anyone would finance, write, film or desire to see this.

this looks like six kinds of awful movie all rolled up into one.

otm. but in a good way.

i liked this as much as i expected to, which was a lot. i didn't like it more than i expected to, which is mildly disappointing. but only mildly

OTM. I liked the Ledger-Gainsborough sequences a lot, actually; his surly Heath Ledgerness and "Dylan's" create a nice tension in those domestic scenes.

Was that Wilco performing "Goin' to Acapulco" in the Gere sequence?

i think it's jim jones from mmj

All the supporting performances are wonderful, especially Bruce Greenwood as "Mr Jones" and Julianne Moore.

I thought the Black Panthercentric 'video' for 'Ballad of a Thin Man' was a bit much, but sort of in a good way.

I watched Dont Look Back for the first time in eons this weekend, and forgot how little music is in it; a must for Dylan novices along w/ the PBS Scorsese doc.

Eonline: $757,385 for Friday-Sunday at 130 theaters. per-screen average of $5,826.

saw this last night, at last.

I thought it tremendous. The potency, the richness of pastiche.

i watched this again, first time since it came out, inspired by the poll over on ILM.

i dont have anything terribly intelligent to say about it, but i loved it this time. only off note is the sonorous sounds of eddie vedder doing "all along the watchtower" over stock footage of vietnam. cant decide if that's a cliche or a knowing cliche, but doesn't seem to work either way.

this is sorta obvious in retrospect, but thought connecting "finger-pointing" folk dylan to angry christian dylan via the Bale character was insightful.

would love to read an in-depth analysis of this. i really enjoy movies that seem to be "coded" in some way. like, all the different characters have a different category (poet, prophet, fake, etc.) but the Cate Blanchett one isn't included in the line up with the gun shot sounds and, as far as i can tell, isn't really given a category in that way (perhaps "Ghost" if i was hearing things right). need to watch again.

it's basically the same narrative/central conflict as Velvet Goldmine, just without the Christian Bale character

need to see that too!

I think its fantastic but it def has its detractors (primarily people who get upset by how many liberties it takes with the ostensible "facts" but then I think those liberties are precisely the point)

INT or VG? i guess both. watching this with a dylan-skeptic who kept asking about verisimilitude was funny since it made me realize how many things were tweaked and re-named "desolation row" style. probably difficult to get a strong sense of it without a minimal grounding in dylan-lore but they found it quite affecting anyhow.

I was referring to VG there but both films make it really clear that playing with the facts, the mutability of the subject matter, is central to the films' premises.

Forgot Charlotte Gainsbourg was in this.

They actually screened 35mm prints of this at Metrograph and MoMA recently. It was quite a nostalgia trip to see it again - I vividly remember seeing it when it came out, and I still have the ticket stub (now faded but just barely legible) tacked to my old bedroom wall. Back then, I was almost alone in the theater. (I didn't realize until the end that a couple was sitting in the back.) I was blown away, but it was kind of sad to see the film do so poorly as the screening I went to turned out to be the last before the theater booked a different movie. I think it had ran for at best two weeks. This time, it was a packed screening, and it still holds up for me. I think it's one of Todd Haynes's best films and the best film outside of D.A. Pennebaker's films that I've seen on Dylan. It's clearly a movie that understands his work very well and knows how to reflect that dramatically and cinematically rather than spelling it all out. (Even the few minutes of pseudo-documentary interviews are more about the way Dylan was idolized by his '60s fans.)

xps Also, a bit late, but here's Jim Hoberman's write-up back when it came out:

https://www.villagevoice.com/2007/11/13/like-a-complete-unknown-im-not-there-and-the-changing-face-of-bob-dylan-on-film/

rewatched this last night and laughed out loud when cate-as-dylan first thrills then destroys brian jones by recognising him at a party and introducing him as "brian jones from that groovy covers band"

i like haynes even when's being a bit leadenly DO-YOU-SEE but there's maybe less of that in this movie than any of his other movies?

(except for the destructive journalist being called jones, i mean i see why you feel you can't dodge that but YES WE GET IT TODD)

ranking the dylans: cate, marcus carl franklin, whishaw, gere, bale, ledger

cutest allen ginsberg ever: david cross lol

He has a couple of DO YOU SEEs in May-December.