November 23rd, 2007 2:05pm

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Stephen Malkmus and the Million Dollar Bashers "Ballad of a Thin Man" - David Edelstein's review of Todd Haynes' new film I'm Not There BUY Cymbalta ONLINE NO PRESCRIPTION, in the most recent issue of New York Magazine may be positive, but in complaining that Haynes is more concerned with deconstructing Bob Dylan than getting inside his head, he clues us in to just how little he understood what the movie is actually about, i.e., not the guy who sleeps and eats and DJs on satellite radio. It's about the cultural representation of Dylan, purchase Cymbalta online no prescription, Where can i buy Cymbalta online, and as such, it's more about us than it is about him, real brand Cymbalta online. Buy Cymbalta from mexico, Not to undersell the film's substance, but when you boil down all the things that I'm Not There has to say about Dylan in particular and art in general, ordering Cymbalta online, Buy Cymbalta online no prescription, it's essentially about how we turn artists into icons, and the way the mythology that we create around them can take on a life and meaning that is far greater than the person, buy Cymbalta without a prescription, Buying Cymbalta online over the counter, and sometimes even the work itself.

Haynes splits Dylan into six characters, none of whom are called Bob Dylan, kjøpe Cymbalta på nett, köpa Cymbalta online. Comprar en línea Cymbalta, comprar Cymbalta baratos, (The name is never once uttered in the film.) Only half of the actors resemble the man, and the one who is most clearly evocative of his actual style and mannerisms is a woman in drag, where to buy Cymbalta. Where can i find Cymbalta online, It's important that it's drag, by the way, where can i order Cymbalta without prescription. Cate Blanchett's performance as the Dylan of Don't Look Back is meant to be an over-the-top, fabulous caricature of the artist at his most iconic, and it's the representation that is most charged with transgressive sexuality -- both his own, and what Blanchett claims for herself as she occupies his persona, BUY Cymbalta ONLINE NO PRESCRIPTION. Cymbalta samples, Blanchett's Dylan is my favorite, mainly because she is standing in for the version of the man I appreciate the most: The "pop" Dylan; the cynical, online buy Cymbalta without a prescription, Buy generic Cymbalta, frustrated young artist who fought against being pigeon-holed by the media; the iconoclast who stood up to the smug, self-righteous conservatism of the folk movement at the Newport Folk Festival and the Royal Albert Hall, buy cheap Cymbalta. Buy no prescription Cymbalta online, The events of those two concerts are represented in the film with a great deal of humor, surrealism, fast shipping Cymbalta, Order Cymbalta online c.o.d, and melodrama. It's a folk story, Cymbalta price, coupon, Australia, uk, us, usa, passed down through generations, and that's the point, where can i buy cheapest Cymbalta online. Canada, mexico, india, It isn't about the truth of those events, it's about the cultural resonance of his actions, buy Cymbalta without a prescription, Order Cymbalta online overnight delivery no prescription, and the way we tell and internalize the meaning of the narrative -- it's the moment where Dylan ceases to be a folk singer, and becomes a folk hero.

Unsurprisingly, buy Cymbalta no prescription, Where to buy Cymbalta, my second favorite Dylan in I'm Not There is the one played by Marcus Carl Franklin. BUY Cymbalta ONLINE NO PRESCRIPTION, Unlike the fairly representational versions of Dylan portrayed by Blanchett, Ben Whishaw, and Christian Bale -- or the glamorous post-modern/meta representation of Heath Ledger, who plays an actor playing Dylan in a biopic -- Franklin's character is purely metaphorical, and stands in for the young Dylan eager to cast off his past and reinvent himself on his own terms. The scenes with Franklin suggest that the singer's transforming persona is an intrinsic part of his character, japan, craiglist, ebay, overseas, paypal, Order Cymbalta from mexican pharmacy, and of his art -- from early on, he understood the power of becoming a character, kjøpe Cymbalta på nett, köpa Cymbalta online, Buy Cymbalta without prescription, of becoming something else for the benefit of his art, his audience, buy Cymbalta from canada, Cymbalta over the counter, and himself.

The film does not follow a linear path, where can i buy Cymbalta online, but it's important to note that the story begins with Franklin since it establishes the central conflict of the picture, i.e., the complications of reconciling the differences between the artist's embrace of affectation, and the premium placed on authenticity in folk music, and the culture at large -- or at least up until the end of the 70s, since its worth noting that Dylan's life after his conversion to Christianity in 1979 is not acknowledged in any way by the film. (It makes sense -- nothing else after that moment in his life has any particular mythic resonance, and so Dylan the legend effectively died when his life ceased to be a story.) Even though there are six incarnations of Dylan in I'm Not There, there's really just two versions of his myth on display, and they are at odds with one another -- he's either the idealistic truth-teller, or the guy who forces us to look beyond objective truth of biography and dig into the complicated mess of life via fiction, poetry, and reinvention of character. You don't really have to pick one or the other, but I'm pretty sure I only really have use for the latter version.

Oh yeah, and doesn't Stephen Malkmus sound like he's on his very best behavior on this version of "Ballad of a Thin Man". When I first heard his three cuts on the I'm Not There soundtrack, I was kinda shocked by the reverence in his voice. I mean, I wasn't expecting him to goof off or rewrite the lyrics, but after seeing the film, the straight, somewhat mannered vocal take makes a bit more sense -- he's providing the singing voice of Cate Blanchett, and he has to bend to her performance. Well, that, and he's a Dylan fanboy, and I imagine he was just trying hard not to fuck it up. (Click here to buy it from Amazon.).

11/23/07 7:12 pm

Ferris says:

You know, I’d make the same argument about Oliver Stone’s “The Doors.” Not really a film so much about who Jim Morrison really was or what happened, but more of an idealized fan’s imaginings of what might have been. Plus, you see Meg Ryan’s boobs.

11/23/07 11:54 pm

Matthew Perpetua says:

I guarantee you that this is a much, much better film than The Doors, but as far as nudity goes, it’s kinda limited to Heath Ledger.

11/24/07 9:07 pm

Kevin says:

I absolutely loved it, my favorite film of the year.

As for my favorite Dylan, that’d be Heath Ledger, mainly because I feel closest to the “relationship Dylan” of Freewheelin’, Blood on the Tracks, and Time Out of Mind. But they’re all excellent, and I actually liked Ben Whishaw quite a bit too.

I disagree slightly about the notion that post-Christian Dylan wasn’t portrayed here. Richard Gere’s iteration, while partly being about the mythic, “Old Weird America” Dylan of John Wesley Harding and The Basement Tapes was also, I thought, about his late pre-comeback (btw Oh Mercy and Time Out of Mind) period, where Dylan basically went into hiding in the songs of the American past. (World Gone Wrong, Good As I Been to You.) And there’s also the “Not Dark Yet” feeling about Gere’s arc too, particularly once he skips town (minus dog), headin’ for another joint.

Can’t wait to see it again. I was going to go again today, but Film Forum is sold out.

11/24/07 9:53 pm

Zack says:

Mostly agree except for one thing in the 1st graf:

“It’s about the cultural representation of Dylan, and as such, it’s more about us than it is about him. ”

I dunno, there’s certainly some of that in there, as shown with your “folk story” comment, but Dylan’s always been one step ahead of everyone else in terms of representation. I thought it generally was more concerned with with Dylan’s representations of himself.

11/25/07 2:19 am

Max says:

I like how Haynes made the best parts of the film black and white, so you’d know.

11/26/07 8:35 pm

Greg says:

“…or at least up until the end of the 70s, since its worth noting that Dylan’s life after his conversion to Christianity in 1979 is not acknowledged in any way by the film.”

The Christian Bale character actually becomes a preacher in the film, which, to my mind, would equate an acknowledgment of Dylan’s conversion to Christianity. (It’s possibly safe to say that by having the Bale character being the only one who “plays” two characters/sides of Dylan has something to do with Bale’s first name being, ahem, Christian.)

11/26/07 8:45 pm

Greg, you misread what I wrote — I am saying that the film ignores most everything AFTER that point — but it’s okay, it’s not exactly a well-composed sentence.

Actually, thinking about it some more, I Kevin is kinda right on about the Gere character standing in for post-80s Dylan.