He is one of the most influential, inspiration and ground-breaking musicians of our time. Now, Academy Awardâ"¢ winning director Martin Scorsese (Goodfellas, 1990) brings us the extraordinary story of Bob DylanâEUR(TM)s journey from his roots in Minnesota, to his early days in the coffee houses of Greenwich Village, to his tumultuous ascent to pop stardom in 1966.
The black cylindrical case that Allen Ginsberg was resting his hand upon during his interview was a Manfrotto camera tripod case the crew brought along with them for the interview. See more »
When A&R man John Hammond is introduced, Billie Holiday, whom Hammond signed to Columbia Records, is heard singing the anti-lynching protest song "Strange Fruit." In truth, Hammond did not allow Holiday to record "Strange Fruit" for Columbia; she recorded the song for Milt Gabler's Commodore Records instead. See more »
In our age of universal celebrity, where we know everything that everyone famous thinks (or, more usually, does not think), it's refreshing to rediscover how interesting it can be to hear from someone whose achievements are great but who rarely speaks about them. Bob Dylan has given an extensive interview to Martin Scorcese for Scorcese's film about his emergence from the folk scene and his subsequent "betrayal" of that scene when he went electric: it's absorbing to watch, although, in the end, Bob doesn't actually say that much specific. However, the interview is complemented by a selection of other distinguished talking heads and most crucially, a rich selection of archive footage, going back to Dylan's very first days as a performer. What one notices is just how young he was: the depth and sophistication of even his earliest music can blind one, listening on record, to the age of the performer producing it. He also comes across as playful, self-confident and quite naturally baffled by some of idiocy going on around him: far from seeming incomprehensibly moody, Dylan actually appears as sane as anyone could be at the centre of such attention. It's the music, though, that is really the key to this film, with a rawness and edge, as well as a cleverness, that is still unsurpassed today (and this comment applies equally to the acoustic and the electric material). Since 1966 when the film ends, Dylan has continued to tour and write occasionally great songs; but the body of work that he produced in the early to mid 1960s stands clear for its amazing quantity and quality. If nothing else, 'No Direction Home' stands as clear testament to that achievement.
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