镜子的另一面：纽波特民歌艺术节1963~1965

   量子资源网 提供本片资源  　　quotBob Dylan going electricquot at the 1965 Newort Folk Festival is one of those eochal moments in rock history that seemingly everyone has heard about, but what few eole seem to know is that it wasn#39t some ehemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the erformances at the Newort Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan aeared at the celebrated folk gathering, allowing us to see Dylan#39s rise through the folk scene for ourselves. Watching Lerner#39s documentary, what#39s most remarkable is how much Dylan changed over the course of 36 months the young folkie erforming at the afternoon quotworkshoquot at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while choing away at his acoustic guitar and energizing the crowd without seeming to know just what he#39s doing. In 1964, Dylan all but owns Newort, and he clearly knows it he#39s the talk of the Festival, with Baez and Johnny Cash singing his raises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including quotMr. Tambourine Manquot and quotIt Ain#39t Me, Babequot) sees him moving away from the quotrotest songsquot that first made his name. When the audience demands an encore after Dylan#39s evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to kee the show moving along while Dylan beams at the crowd#39s adulation, like the rock star he was quickly becoming. By the time the 1965 Newort Festival rolled around, Dylan#39s eochal quotLike a Rolling Stonequot was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his oular (and oulist) success. When Dylan, Fender Stratocaster in hand, erforms quotMaggie#39s Farmquot backed by Al Kooer, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number insires a curious mixture of enthusiastic cheering and equally emhatic booing, and while legend has it that the version of quotLike a Rolling Stonequot that followed was a shambles, the song cooks desite drummer Sam Lay#39s difficulty in finding the groove, though if anything the division of the crowd#39s loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical roblems (if Pete Seeger really ulled the ower on Dylan, as legend has it, there#39s no sign of it here) Dylan returns to the stage with an acoustic six-string to sing quotMr. Tambourine Manquot and quotIt#39s All Over Now, Baby Bluequot before vanishing into the night without comment. While much of the audience at Newort in 1965 wanted the quotoldquot Dylan back, his strong, willful erformances even on the acoustic stuff makes it obvious that the scray semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few eole wanted to see Dylan rock. Lerner#39s film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this ivotal moment in his career, and his erformances are committed and forceful throughout no matter how many times you#39ve read about Dylan#39s Newort shoot-out of 1965, seeing it is a revelatory exerience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the #3960s.