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Todd Haynes' "I'm Not There"


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I decided to give this film it's own thread! Since I couldn't find another one for it :) The release date in the US is November 21st Limited. I'm really, really excited for this! :dancing All the reviews say Cate Blanchett is amazing as Dylan!

 

Official Poster!

 

imnotthere1.jpg

 

The Soudtrack Cover Art:

 

dylan-sdtrckx-large.jpg

 

 

Some pics of Cate as Dylan!!!! :)

 

imnotthere4Cate.jpg

 

and

 

http://www.justpressplay.net/movies/im-not...-not-there.html

 

Here is the teaser trailer and a clip with Cate!!!

for those who haven't seen it yet! Enjoy!

 

http://movies.yahoo.com/movie/1808725287/video/3796664/

 

For more great pics and a longer teaser trailer go here

 

http://www.bimfilm.com/iononsonoqui/home2.htm

 

and here:

 

(These pics are awesome! They're from the Venice Film Festival) )I've been having trouble with this link. So, if you get it to work great :) )

http://www.multiplayer.it/galleria.php?id=15333&page=2

 

Also, here are some clips from the film in between interviews with Todd Haynes and Heath Ledger.

 

 

Hope you Enjoy!!! :D

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Also, I don't know how many of you have ever heard the song "I'm Not There (1956)." But, here it is- the song that inspired the film. It's from The Basement Tapes recording sessions: I hope you enjoy it!

 

http://download.yousendit.com/663EE64835BE527D

 

(Let me know if it works ok- I'm always terrible and doing these types of things :) )

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Here is a review of the film:

 

Anyone who says Todd Haynes' I'm Not There (Weinstein Co., 11.21) isn't an essential film to see -- not just for the portions that "deliver" but the ones that are radiantly, eye-poppingly alive -- is operating without the DNA of a true movie lover...it's that simple. This is a great poetry-weave film, a reanimation of '60s spiritual-cultural energy like no feature I can recall, and a magnificent head-tease that is always arresting, even during the fumble portions.

 

It's not all-the-way fantastic (20% or 30% drags and meanders and sometimes confounds), but I'm saying for sure that you can't not see it. You can blow it off when it opens theatrically and wait for the DVD, sure, but this will probably incur the suspicion of trusted friends and colleagues. Honestly, do you want that?

 

I knew Haynes had taken a huge bite going in with this ultra-ambitious patchwork exploration of Bob Dylan's life and legend (spanning from the late '50s to late '60s), in which he uses six different actors (Cate Blanchett, Christian Bale, Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw) along with numerous styles and palettes to convey various aspects of this unique life and legend.

 

What I didn't anticipate was his impressive use of montage that ties together the various strands and makes a kind of harmony out of what could have been serious chaos. Nor did I expect the magnificent detail in each frame, the always-brisk pacing and the sheer "fun" aspect.

 

An example of the latter is a Dylan-frolics-with-the-Beatles-in-''64 moment that's absolutely hilarious in a kind of of Jacques Tati-meets-Charlie Chaplin-meets A Hard Day's Night sense.

 

Did I mention this is Haynes' absolute best film? That he's pulled off one of the most exciting growth-surge displays of any directorial career, ever?

 

I'd heard from a friend at Telluride that I'm Not There is "an inside joke for Dylanologists" and okay, yeah, it is that...but for anyone open to full-crank cinematic stimulation it's one of the most inventive and dazzling head-trip films I've ever seen. I went into it this afternoon with some trepidation, and then realized within minutes it would be much, much better than anticipated. It doesn't really have much of a "thread" (by the classic definition of that term) and it loses tension from time to time, but when it's "on" and rolling full steam it's a wild-ass thing to behold.

 

On top of which it has to be seen for Blanchett's knockout performance (captured entirely in black and white) as the Highway 61 Revisited/Blonde on Blonde Dylan. Forget Cate's game performance in the catastrophic Elizabeth: The Golden Age and absolutely count on the fact that she'll be nominated for Best Supporting Actress in the Haynes pic. Dylan fans are going to be blown away, but I can see others digging it as one of the best woman-playing-a man tour de forces ever put to film.

 

On one level her inhabiting of the '65-to-'66 Dylan doesn't feel entirely sincere -- it's a piece of performance art that feels a wee bit put-onny -- but another level it's psychologically "real" and shattering. For me Blanchett delivers as much of a knockout punch as Marion Cotillard's Edith Piaf does in La Vie en Rose or Jamie Foxx did in Ray, and perhaps even more so.

 

I'm speaking about much more than a physical capturing -- the frizzy big hair, black shades, tight pants, Beatle boots and whatnot -- or Blanchett's spot-on imitation of his mumbly voice and guarded manner. I'm talking mainly about a convincing communion with that Dylan-esque otherness...that sense of odd, connected whimsy and all-knowing, tapped-in power that indicated all kinds of fascinating currents in the actual guy.

 

Yes, the Gere-in-the-country portion (a chapter evoking the reclusive John Wesley Harding/New Morning era) slows things down a bit, but even this section has its odd carnival-like charms. I'll admit I was feeling a wee bit anxious and impatient, but Haynes saves it somewhat by cutting back to the Blanchett, Ledger, Bale and Whishaw portions now and then and thereby creating a welcome whatever-ness that at least staves off boredom.

 

Will those who've never listened to a Dylan album or seen Martin Scorsese's masterful No Direction Home be able to get into this film? Probably not, but the Dylan-deprived aren't going to see it in the first place so the question is moot.

 

I felt alive and tingly as I walked down Bloor Street after seeing this film early this afternoon. I was saying to myself "this is what it feels like to feel charged up by a movie, by transcendent thought, by ravishing lyrics...by the whole magilla

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I bought tix to the opening night premiere of this at the Film Forum in NYC. But since I am an idiot I forgot to check my calendar and didnt realize it's the night before Thanksgiving and I am out of town.

 

I get a discount rate since I am a member at the film forum so if anyone's interested, I am happy to give em up at the discount rate that I paid. 2 tix for $13.00.

 

I really cant wait for this release. I am almost as excited about the soundtrack...

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Also, I don't know how many of you have ever heard the song "I'm Not There (1956)." But, here it is- the song that inspired the film. It's from The Basement Tapes recording sessions: I hope you enjoy it!

 

http://download.yousendit.com/663EE64835BE527D

 

(Let me know if it works ok- I'm always terrible and doing these types of things :) )

repost maybe?

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Seriously. I need to see this movie. Todd Haynes blew my mind with 'Safe', and I am very excited for this.

 

I think I read something in the Reader about how this film may not be the most polished, or entertaining, but it displays 'the kind of risks that many of [America's] Auteurs should be aspiring to'

 

I think that says it all in a film world full of blockbusters, or independent films that almost strive to be boring.

 

I'd like to give Todd Haynes a high five for being so cool.

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Okay so I read the article and I am slightly more interested than I have been previously. I have only seen Velvet Goldmine, which I found largely unwatchable and have not seen any of his other movies. I hope this does okay, but I suspect it won't go much beyond the art house crowd.

 

I have been reading the Dylan interview book and am currently reading the Jonathon Cott interview from 1978 that deals with "Renaldo and Clara" (another largely unwatchable movie, at least the print I saw) and it sounds like about the same kind of thing really, except perhaps done a bit more artfully. Perhaps this movie will bring back R&C into cirrculation. There is a great deal of talk in this interview about switching identies and masks and all the same stuff Haynes discusses in this article.

 

Yea, a straight up biopic of Dylan wouldn't be that earthshaking, but there are some pretty interesting things about Dylan himself that would make an interesting "straight" movie.

 

LouieB

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i'm excited as hell for this movie since i love dylan, but is there anyone else out there that's sick to their damn stomach to hear that richard freakin' gere is play bobby d? i'm not quite sick enough to swear of the movie, mainly because i like the other actors a lot, but ugh, richard gere is such a hosebeast.

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Okay so I read the article and I am slightly more interested than I have been previously. I have only seen Velvet Goldmine, which I found largely unwatchable and have not seen any of his other movies. I hope this does okay, but I suspect it won't go much beyond the art house crowd.

 

I have been reading the Dylan interview book and am currently reading the Jonathon Cott interview from 1978 that deals with "Renaldo and Clara" (another largely unwatchable movie, at least the print I saw) and it sounds like about the same kind of thing really, except perhaps done a bit more artfully. Perhaps this movie will bring back R&C into cirrculation. There is a great deal of talk in this interview about switching identies and masks and all the same stuff Haynes discusses in this article.

 

Yea, a straight up biopic of Dylan wouldn't be that earthshaking, but there are some pretty interesting things about Dylan himself that would make an interesting "straight" movie.

 

LouieB

 

R&C is actually on YouTube - broken into many parts.

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i'm excited as hell for this movie since i love dylan, but is there anyone else out there that's sick to their damn stomach to hear that richard freakin' gere is play bobby d? i'm not quite sick enough to swear of the movie, mainly because i like the other actors a lot, but ugh, richard gere is such a hosebeast.

I heard he's playing Tony in the Wilco movie.

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