[continued from previous message]   
      
   > The Newport ‘65 Audience. The audiences initial dislike for Dylan going   
   > electric and the speed with which they shift and embrace it is also   
   > exaggerated to make the shift clear. Personally I would have wished   
   > instead of 80% negative at first it was more like 30-40% (as from what   
   > I’ve read that is closer to the truth) but that would have been far less   
   > clear to the average movie goer - they’re telling the story here and a   
   > bit of the myth. It’s fine.   
   >   
   > Judas at Newport. Yes some lines time travelled a bit. Fine   
   >   
   > Bob visits Woody after Newport ‘65. It’s a beautiful ending to the film   
   > wraps the story of these years as a full circle event, exposes that   
   > Bob’s humanity is fully in tact after a few scenes where that might have   
   > been questioned, and as far as I know did not happen. I assume we would   
   > know (please leave comments). It doesn’t matter and if this is the one   
   > big Hollywood warp for a feel good ending, that’s not bad.   
   >   
   >   
   > You and Me We Had It All   
   > The movie is full of songs and all about Bob Dylan, but it’s the other   
   > people and their relationships that are perhaps the most interesting and   
   > informative to someone who isn’t here to learn the basic story. From   
   > Pete to Woody to Suze to Joan to Neuwirth to Cash the supporting   
   > characters in Bob Dylan’s world come to life.   
   >   
   > These people are often two-dimensional in relation to Dylan, but they   
   > are not here - all are vibrant and whole. Bob interacts with them and in   
   > impacted by them, he’s not a one man tsunami (save a few moments) and so   
   > we get to know and appreciate each of them. Every one of these actors   
   > makes you believe they’re who they’re said to be.   
   >   
   > Albert Grossman is a bit of cartoon, and it would have been nice to see   
   > him get more nuance. John Hammond is an extra only, Tom Wilson is just   
   > behind the glass, Al Kooper gets his organ story and that’s about it.   
   > Everything didn’t fit.   
   >   
   >   
   > I Think I Sat Through It Twice   
   > I know or understand more about Bob Dylan now that I did before I saw   
   > the movie. Not facts or anything like that, but a general sense and   
   > feeling of what those four years were like for him, and for the world he   
   > was doing it to. That’s the best endorsement I can give. I genuinely   
   > cannot wait to see it again in IMAX next week.   
   >   
   > For those of us who are insatiable on all things Dylan, this is a very   
   > worthwhile way to spend a few hours and I bet our group average will   
   > exceed 5 viewings sooner than we think. For all those in your life that   
   > don’t get it, they will get it a little more soon.   
   >   
   > The only hint of cringe for me was when Bob was being unprofessional   
   > on-stage, because it was by far the least literal significant thing in   
   > the movie - maybe they were portraying some of the loss of control at   
   > the Emergency Civil Liberties Committee speech plus the tension with   
   > Joan and fame, I don’t know. But this could have been 2.25 hours of   
   > cringe and it was otherwise the farthest thing from it.   
   >   
   > I look forward to thoughtful and competent critics sharing reviews of   
   > the performances, which to me were thoroughly excellent, the costuming   
   > and scene decoration, the direction and editing, and the live singing;   
   > I’ve only praise for all of it.   
   >   
   >   
   > *PS: Jann Wenner does not know that I was in the room with him. Other   
   > celebrities with personal Dylan histories were present too.   
      
      
   Anyway still happy with the Bob Dylan movie and yes it's made a few   
   people understand him better.   
      
   --- SoupGate-DOS v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)