Ever since I first heard of Todd Hayes unconventional approach to the biopic of Bob Dylan, ‘I’m Not there’, I’d been looking forward to seeing if he could pull off using six different actors to depict a variety of aspects of Dylan’s character. Having now finally seen it, I have to say I found it to be a bit of a let down.
I still like the premise of the movie and the audacity of not referring to Bob Dylan by name throughout. I think Hayes is basically showing us a truth that no conventional narrative can ever show Dylan’s multi-faceted character effectively.
However, what I felt while watching the movie is that so much of it seemed like a reworking of the material seen in the Martin Scorsese’s superb documentary ‘No Direction Home’. Not only that, but the way Scorsese interweaved old footage of Dylan with interviews both old and new was far more compelling than Haye’s fictionalised version.
It’s also revealing that Hayes has very little of substance to add to the years after Dylan’s mysterious motorcycle accident in 1966 . The fact that Richard Gere is seriously miscast to depict the years after this doesn’t help. Hayes even writes it that the accident took Dylan’s life as if to suggest that the albums produced after came after a spiritual death (verily the ghosts of electricity!).
Cate Blanchett does a remarkable job of mimicry and shows us His Bobness’ feminine side in the process. Perhaps one role that was missing though was Bob Dylan’s dark side (that’s dark as in evil).
Being so driven, I’m convinced he has more than his fair share of demons locked away. Come to think of it, how about a movie called ‘The Devil in Mr Zimmerman’ as a new angle on the enigma!!
What I like most about the movie soundtrack is that it raises the public profile of the much underestimated band Calexico. Antony & The Johnsons‘ version of ‘Knocking on Heaven’s Door’ & Tom Verlaine’s ‘Cold Irons Bound’ are other causes for celebration.
Still, what I feel about most of the covers is the same as my response to the movie as a whole – they are fine up to a point, but there’s no getting away from the fact that there’s no substitute for the real thing.
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