Very entertaining cinema verite look at Bob Dylan's 1965 tour of England. Provides some glances past Dylan's iconic image, and some very entertaining music as well as behind the scenes footage. Interesting anecdote to "A Hard Day's Night". In this one the teen girls gush, but they aren't sure why. Poses interesting questions that need not be answered, but not at all heavy handed. Dylan comes off as too cool for school. Joan Baez and Donovan sing too. Dylan drunkenly argues with a groupie. Entertainment with some provocation.
Bob Dylan: Dont Look Back (1967) 720p YIFY Movie
Bob Dylan: Dont Look Back (1967)
Dont Look Back is a movie starring Bob Dylan, Albert Grossman, and Bob Neuwirth. Documentary covering Bob Dylan's 1965 tour of England, which includes appearances by Joan Baez and Donovan.
IMDB: 8.01 Likes
The Synopsis for Bob Dylan: Dont Look Back (1967) 720p
Portrait of the artist as a young man. In spring, 1965, Bob Dylan, 23, a pixyish troubador, spends three weeks in England. Pennebaker's camera follows him from airport to hall, from hotel room to public house, from conversation to concert. Joan Baez and Donovan, among others, are on hand. It's the period when Dylan is shifting from acoustic to electric, a transition that not all fans, including Baez, applaud. From the opening sequence of Dylan holding up words to the soundtrack's "Subterranean Homesick Blues," Dylan is playful and enigmatic.
The Director and Players for Bob Dylan: Dont Look Back (1967) 720p
The Reviews for Bob Dylan: Dont Look Back (1967) 720p
Behind the scenes with Bob DylanReviewed byGoatPodaVote: 7/10
Amidst the morass of irrationality, antinomianism, and sanctimony that is The Sixties (celebrated, for example, in "Hair" and "A Hard Day's Night"), "Don't Look Back" is refreshingly, almost cathartically, lucid and morally serious. There isn't a conversation that isn't intelligent on at least one side. Dylan's discussions with and about musicians and poets sparkle with a thirst for poetic and musical expression. The music is passionate, serious, and enjoyable.
About the competitive and business aspects of music, Dylan is game and reasonable. His manager, without screaming or hostility, tries to hold the BBC to, apparently, previously implied promises they are backing away from on the grounds of a contrary general policy. There are no implausible pretenses to asceticism.
Dylan never attacks anyone weak or who does not deserve it. Members of Dylan's entourage who do things that are dangerous or wantonly destructive, such as throwing a glass out the window, are sought out for reprimand. A hanger-on who tries to coopt Dylan to the idea that the two of them are superior for, well, I'm not sure for what, is well flustered by Dylan's Socratic questioning of that superiority. Young fans are put at ease, treated gently, and, in a way that obviates their awe, probed for reactions to his music.
Two instances reflect badly on Dylan. He is suddenly hostile to a Time magazine reporter, and insists that he should not be called a folk singer. The reporter is taken aback and exasperated (notwithstanding that the claim is accurate for sufficiently narrow definitions of "folk"). He doesn't argue, but behind the eyes you can see a quick mental retrenchment. The reporter gingerly tries a new tack, and salvages interesting and perceptive impressions. Talk about a bravura performance. More troubling is a member of the Animals going uncriticized for opening a bottle with a hotel piano. Does Dylan let pass from a star what he would justly rebuke in an ordinary person? It happened behind Dylan's back. Maybe he was unaware of it.
Perhaps I'm biased -- Bob Dylan is quite possibly my favourite performing artist in the world. This very cinema-verite look at Dylan's 1965 tour of England offers both a serious justification of the man's genius and a very unflattering look at the costs and results of that genius. This was clearly not a happy time for Dylan, who rushes through most of the songs included here like a man who clearly wishes he were somewhere else. Not that the performances are poor (quite the contrary) but the heart and sincerity are quite obviously missing (note how "The Times they are a-Changin'" speeds up gradually but unmistakably throughout the film). The backstage material (the bulk of the film) shows Dylan being generally nasty to everyone around him, including Joan Baez (well, he's not nasty precisely, but he never really even acknowledges her presence), a newspaper reporter (the "science student") and basically anyone he comes in contact with.
In other words, this is not a portrait of the artist that I happen to like, but it is the truth (or at least it was at that time). In addition, Albert Grossman, Dylan's manager, is shown in possibly the least flattering light possible. A bonus is that the film begins with the brilliant 1965 promotional clip for "Subterranean Homesick Blues", and watch for the scene in a hotel room when Dylan and Bob Neuwirth sing "Lost Highway" - it's worth the price of admission.