I'm Not There Review
by Joe Lopez (joejoeloe AT gmail DOT com)January 30th, 2008
Film Review: I'm Not There
Written by Joseph Lopez
Few things make me regret not being born in time to experience the 1960s or 70s outside of a history book. The fashion seems more embarrassing than awe-inspiring. The lack of cable television, lack of Internet, and lack of digital anything bewilders my post-MTV Generation mind. And then there's the social distress over a war we don't belong in, which I'm not exactly missing out on by being alive today. What did I miss then that I now bemoan? Two words - Bob Dylan.
Admittedly, I don't know much about Dylan or his music outside of D.A. Pennebaker's 1967 documentary Don't Look Back and a few quoted lines in Dangerous Minds (I disclose having seen the latter with great shame). I never really regretted not being there during Dylan's moment in time, until now. Director Todd Haynes' I'm Not There fits none of the usual biographical movie stereotypes. Technically, the film isn't even about Bob Dylan the man, but rather the many shades of Dylan that have existed through media and his music. Yet Haynes' accomplishes what few traditional biopics ever could - he makes you wish you were there.
It is important not to look at I'm Not There with narrative expectations. Haynes has crafted a visual essay of ideas and chapters that placed together like a pallet of words form the near perfect portrait of Dylan as idea. Different characters and actors bring to life the spirit of Dylan at different points in his career. It is a risky approach, but proves rewarding. The performances are varied and inspired. Much attention has been drawn to Cate Blanchett's turn as the most recognizable of the Dylans, and rightfully so. Blanchett is incredible and alone makes the picture unforgettable. However, this is not a one-woman show by any degree. Every act works, even Richard Gere as Billy The Kid, a segment truly saved by performance.
Some pieces of the puzzle fit more awkwardly than others. The aforementioned Billy The Kid story for example, which only ties into Dylan myth if you know something about Dylan. The Christian Bale as Dylan faux-documentary bits are tedious, save for the final segment.
What may hurt the film most of all is the viewer. Unfortunately, it can take some time to really wrap your head around the tapestry being weaved. Those easily frustrated may not stick around long enough to let the picture set in, leaving it an unsatisfying experience. Also, a viewer with affection for Dylan may walk into "the Dylan movie" expecting to learn something new about the man. There are no answers presented, just rumination.
It may be those lacking knowledge of Bob Dylan that benefit the most from this film. Haynes masterfully expresses the excitement and enigma of the man. He was a voice of the people, a rally cry at a time when one was absolutely necessary. It especially fascinates me considering how similar our current cultural state is to that of the one Dylan spoke for. Yet nobody speaks up for today. When did musicians stop trying? When did making a statement stop being worthwhile?
The 60s were a time of possibility. A time when all it took to change the world was a microphone and a guitar. It wouldn't take much more now, especially with the advent of things like You Tube making it possible for anybody to literally get their message out to the world. I don't regret not being alive during Bob Dylan's time. I regret being alive during a time without a Bob Dylan. We have the tools. If only we had the guts.
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
