The Million $ Bash gang talks Dylan Movies, particularly the great I’m Not There. The Public version is 21 minutes, the FM+ version for paid members is 45 minutes.
We are entering a season of maximum hype for the Timothée Chamalet vehicle, James Mangold’s biopic of Bob Dylan, A Complete Unknown. The release date is December 25, 2024, and I, for one, can wait.
It’s not that I don’t dearly love movies about Bob Dylan; it’s just that I don’t trust this particular director to create anything but a feel-good yawner complete with loving recreations of settings and a superficial interest in actual biographical events. But that’s me.
Besides, haven’t we already traversed the Dylan bio-pic territory with I’m Not There? Granted, even diehard Dylan fans have found it hard to digest, but isn’t that how it should be? In my case, I think I’m Not There is about as suitable (and excellent) a crack at a Dylan bio-pic that we shall ever see.
The eminent filmmaker Todd Haynes, is known for such masterpieces as Far from Heaven, The Velvet Goldmine, Carol, and last year’s May December. His first movie, the highly acclaimed and now legally banned Superstar: The Karen Carpenter Story, told its tale using Barbie dolls, so you know that Haynes is not conventional in any way.
Indeed, his 2007 film, I’m Not There, is anything but your grandpa’s bio-pic. For one thing, absolutely no one in the film is named “Bob Dylan”—the feature’s ostensible subject. In fact, no one utters the words “Bob Dylan,” and many of the events depicted have, at most, a tangential relationship to the life and times of said Bob Dylan. On the other hand, Dylan’s music features prominently and wonderfully throughout/ and some settings, dialogue, and events are Dylan lyrics put to film.
If you are not aware or need a reminder, in the film six actors portray six characters who correspond somewhat to aspects of Dylan’s life and personality although some scenes fall clearly into the sub-genre of “what if.” What if Bob Dylan found Jesus in the mid-sixties and became a Pentecostal minister? What if Bob Dylan were an actor portraying a Bob Dylan-like character in a bio-pic.
The characters that stand in for Dylan are an 11-year-old Black hobo, a nearly-hermit-like aging cowboy, a hotshot actor with a passion for cheating on his artist-wife, a folksinger turned small-time devout preacher, a poet who’s being interrogated for some reason, and a hipster rockstar immersed in a world of amphetamine and androgyny.
Meanwhile, several other characters in the movie are Dylan-adjacent: an Albert Grossman-like manager; a Joan Baez-like folksinger brilliantly played by perennial Haynes actor, Julianne Moore; a Bobby Neuwirth-type sidekick; and, also for some reason, Bobby Seale, Huey P. Newton, and Allan Ginsburg. That last one is wonderfully portrayed by David Cross.
And for good measure, this non-bio-pic shows us the actor-character, Robbie Clark, in a scene from his bio-pic of Jack Rollins. For those at home keeping score, that’s a fictional bio-pic of a fictional character within a non-bio-pic of a real person. Still with me?
As biography, I’m Not There falls way short, but it never fully attempts biography. Indeed, like Dylan’s unreliable memoir, Chronicles, Volume 1, and Scorsese’s Rolling Thunder Revue: A Bob Dylan Story, it is a meta-biography that uncovers the constructedness of Bob Dylan in our culture. Furthermore as a non-bio-pic or even a meta-bio-pic, it explores the fraught limitations and possibilities of biography itself, particularly when it is contained entirely within the four corners of a screen.
