I’m Not There

Cate Blanchett as Bob Dylan


A movie for every day of the year – a good one



19 March


Bob Dylan releases first album, 1962

Today in 1962, having dropped out of the University of Minnesota and relocated to New York City to visit the dying Woody Guthrie and break into performing, Bob Dylan released his first album. Eponymously titled Bob Dylan it had come about after Dylan had played harmonica on Carolyn Hester’s album in September 1961, and caught the eye of producer John Hammond. Hammond signed Dylan up to Columbia in October 1961 and within five months the album was done. It was a collection of folk standards, coffeehouse favourites plus two Dylan originals – Song to Woody (loosely based on Guthrie’s 1913 Massacre) and Talkin’ New York. The album’s personnel consisted of Dylan on vocals, guitar and harmonica, and that was it. The album failed to sell.




I’m Not There (2007, dir: Todd Haynes)

A film about Bob Dylan that uses a different actor to play the man in various stages of his career. Sounds fairly unremarkable on the face of it, the sort of thing that happens all the time. But Richard Gere as Dylan? An African-American (Marcus Carl Franklin)? A woman (Cate Blanchett)? Director Todd Haynes throws in Christian Bale, Heath Ledger and Ben Whishaw as the other three Dylans in a film whose stunt casting threatens to obscure its purpose – by adopting the freewheeling approach Haynes is trying to get closer to a character who has spent his life constantly creating and erasing his own myth. Well that’s the puff. Constructed as a series of episodes, with a different Dylan in each, the look and shooting style changing to match, this kaleidoscopic retelling of the Dylan biography avoids the trap of serving up familiar snippets. And when it does, it refracts them, twisting them into new shapes, much as Dylan himself twisted the fairly staid forms of folk into his own vehicle for expression.
Haynes takes Dylan pretty much at his own estimation of himself – cool, smart, honest, only occasionally a monster, while the famous songs (Idiot Wind, Like a Rolling Stone, The Times They Are A-Changin’ etc) are used as a commentary on the man’s life as he lived it. Some things really stand out – as if the multiple casting for Dylan wasn’t enough (though Todd Solondz had done something not too dissimilar with his Alice in Wonderland-esque Palindromes in 2004) – one is the way that Haynes presents the 60s as a strange, distant, other world. Which of course they are now – further away culturally than chronologically – but Haynes was among the first to put this observation on film. Another is the way that Haynes and co-writer Oren Moverman draw comparisons between the 1960s and the time of the Old West (usually, with the 1960s, it’s the Edwardians and all that Sgt Pepper militaria). As for the performances as Dylan, take your pick. Blanchett has been praised, though I found her self-conscious. But then maybe she’s meant to be; she’s playing Dylan at his most iconic – shades, skinny black suit, smart haircut, at just the moment when he became the most famous pop star in the world, an icon in silhouette. A lot of people reading this might not even realise how big he was – bigger and cooler than the Beatles. The film’s a bit about that too.



Why Watch?


  • The stunt casting
  • Play “spot the reference” – was that Jodorowsky?
  • Some great Dylan music
  • Edward Lachman’s remarkably varied cinematography


© Steve Morrissey 2014



I’m Not There – at Amazon





Dr T and the Women

Richard Gere in Dr T and the Women

If, as the old joke has it, gynaecologists are always up to their elbows in work, how much more taxing would that job be if you were Richard Gere? That’s the proposition that Robert Altman lays before us in a film that’s often dismissed, his last of a line of flops that lay between Short Cuts (1993) and Gosford Park (2001). But Dr T is really worth a second look because of what Altman is doing, possibly unbeknown to his cast.

Scouring Hollywood, he’s found a handful of irritating, self-obsessed and unhinged actresses and cast them just as they are – or is it more the sort of type they very often play? Either way, Altman does not stop there. He’s then gone and found a gang of normally vanilla actresses and cast them entirely against type. Say hello to Shelley Long, Farrah Fawcett and Laura Dern, Helen Hunt, Kate Hudson and Liv Tyler – you work out who falls into which group. Stir in the odd real witch or two, then drop in poor Richard Gere, playing the knight errant and everyday decent chap, a gynaecologist surrounded by a very strange mix of female friends, lovers, relations and colleagues, and you’ve got something like Pilgrim’s Progress updated to the new millennium.

The film absolutely bombed, and no wonder – it looks from the title and casting like a light bit of rom-com whimsy aimed at the stereotyped woman. Then, once your female viewer is all settled in, along comes 117 minutes telling her how tough it is being a man.

It’s a comedy by the way. While you’re not laughing – this film has many plus points but being funny isn’t really one of them – try and work out how Altman escaped alive.

© Steve Morrissey 2000

Dr T and the Women – at Amazon

I am an Amazon affiliate