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Bob Dylan: Dont Look Back [Blu-ray + DVD]


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Product Details

  • Actors: Bob Dylan
  • Format: Subtitled, NTSC
  • Language: English
  • Subtitles: English
  • Region: Region A/1
  • Aspect Ratio: 1.33:1
  • Number of discs: 2
  • MPAA Rating: PG
  • Studio: Universal Studios Home Entertainment
  • Release Date: April 26 2011
  • Run Time: 152 minutes
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (50 customer reviews)
  • ASIN: B004FOPFFW
  • Amazon Bestsellers Rank: #32,218 in DVD (See Top 100 in DVD)

Product Description

Product Description

This is the ultimate look at Bob Dylan’s concert tour of England in the spring of 1965--one of the most intimate profiles of an artist ever put to film. This definitive set includes the remastered classic film by D.A. Pennebaker, a brand-new, hour-long look at Dylan, and the original 168-page companion book to the film. More than just a concert film, DONT LOOK BACK is a window into the spirit of the 60s, and one of the poet-musicians whose words and songs defined it.

Amazon.ca

Both a classic documentary and a vital pop-cultural artifact, D.A. Pennebaker's portrait of Bob Dylan captures the seminal singer-songwriter on the cusp of his transformation from folk prophet to rock trendsetter. Shot during Dylan's 1965 British concert tour, Don't Look Back employs an edgy vérité style that was, and is, a snug fit with the artist's own consciously rough-hewn persona. Its handheld black-and-white images and often-gritty London backdrops suggest cinematic extensions of the archetypal monochrome portraits that graced Dylan's career-making early-'60s album jackets.

Pennebaker's access to the legendarily private troubadour enables us to witness Dylan's shifting moods as he performs, relaxes with his entourage (including then lover Joan Baez, road manager Bob Neuwirth, and poker-faced manager Albert Grossman), and jousts with other musicians (notably Animals alumnus Alan Price and Scottish folksinger Donovan), fans, and press. It's a measurement of the filmmaker's acuity that the conversations are often as gripping as Dylan's solo performances. Grossman's machinations with British promoters, Baez's hip serenity, a grizzled British journalist's surrender to the fact of Dylan's artistry, and the artist's own taunting dismissal of a clueless sycophant are all absorbing.

With the exception of the studio recording of "Subterranean Homesick Blues," the live performances (including five newly restored, complete audio tracks excised from the original film but included on the DVD version) are constrained by crude audio gear. Their urgency, however, is timeless, as is Pennebaker's film, a legitimate cornerstone for any serious rock video collection. --Sam Sutherland --This text refers to an out of print or unavailable edition of this title.


Customer Reviews

4.6 out of 5 stars
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Most helpful customer reviews

3 of 3 people found the following review helpful By kennedy19 on April 7 2004
Format: VHS Tape
There's no doubt this film was an influential piece of cinema verite for subsequent rockumentaries. With little ado, it follows Bob Dylan and his small entourage (including Joan Baez) around England on an acoustic concert tour in the spring of 1965, in delicious black-and-white (mostly with hand-held cameras.) Much of the time we are in cars and hotel rooms, with occasional footage of Bob onstage performing alone with his guitar and harmonica. On a certain level we get a gritty version of the carefree fun of the Beatles' "A Hard Day's Night" - Bob and friends mostly hang around, seemingly without a care in the world, not appreciating how fleeting is this era of anyone's youth. At the same time, Dylan spends much of his time in pointless debates with journalists and others who are hanging around, keeping up a self-centered patter that I trust would embarrass an older man looking back on his cocky youth. It's argument for the sake of argument. His insouciant bravado has always been maddening; Bob shows little of his true self to the public in interviews and encounters, but then...he goes onstage, and those songs speak directly to our hearts, now as then. It's a weird contrast between the backstage kiss-off artist and the onstage genius. However, snatches of the real Dylan do slip through in this footage too. He seems wary and insecure around peers such as Donovan. Before going onstage at the Royal Albert Hall, the man who has just spent a long time telling a reporter that Time magazine is meaningless stops to carefully check himself in the mirror before going on. After the same concert, he seems genuinely upbeat and glad about the performance. In these and a few other glimpses, we see chinks in the armor of the self-conscious rebel, and behold, there is a human being beneath. No wonder the songs are so good. (The sound quality of the live performances isn't great in this film, but then it probably wasn't in real life in those days either.)
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By bernie TOP 100 REVIEWER on Oct. 10 2008
Format: DVD
Many productions you are expecting music and all you get is \people talking about each other and occasionally mentioning the artist. Ties is a great documentary as instead of people talking about each other you get a candid look at the artists, on and off the stage.

I was surprise to see such a young Joan Baez and it was fun to listen to her and Bob singing Hank Williams' songs.

Just as I was about to be disappointed because other than "Subterranean Homesick Blues" I thought we would never get a full song until I realized that there were extras with full track extras:
"It Ain't Me Babe" May 10, 1965
"It's All Over Now"/ "Baby Blue" May 10, 1965
"Love Minus Zero/No Limit" May 9, 1965
"The Lonesome Death Of Hattie Carroll" May 10, 1965
"To Ramona" May 4, 1964

I enjoyed the banter between Terry Ellis (science student) and Bob.
Then if you look quickly you will see Marianne Faithfull Soundtrack (writer: "Witches Song") in the movie "The Craft" (1996).

Now we must say good-by to Bob Dylan's last acoustic tour.

DON'T LOOK BACK

Bob Dylan - No Direction Home
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By A Customer on June 26 2004
Format: DVD
It would be impossible for me to say all I wanted about Bob Dylan in a short review, so I will just say I'm a huge fan. Don't Look Back is a classic, a must-have for Dylan fans. This fly-on-the-wall film shows Bob at just 24, ready to turn the music world on its head by "going electric." Dylan is shown doing what he does best (besides writing songs): toying with reporters and would-be interviewers like a cat would toy with a mouse. There is the infamous run-in with the Science Student (my favorite part of the film). Dylan turns every question the poor kid asks around and fires them right back with honed precision, leaving the young Englishman confused and babbling. There is the hilarious part at the end of the film where Dylan insists "I am just as good a singer as Caruso. Have you ever heard me sing? You have to listen closely, but I hit all those notes. And I can hold my breath three times as long, if I wanted to." Dylan is poking fun at himself, but the befuddled reporter doesn't get it. And then there are the intimate, silent shots of Bob on a train, removing his trademark sunglasses and revealing visible exhaustion, reminding those watching of the enormous pressures being placed upon him. Add all this to the concert footage and the classic opening to the film, in which a deadpan-looking Bob is filmed holding cue cards with lyrics to "Subterranean Homesick Blues" printed on them, and you've got a wonderfully entertaining look at one of the world's greatest artists. Included are supporting players like Joan Baez (slightly obnoxious in this film), Donovan, and Bob's manager, Albert Grossman. All Dylan fans, and fans of rock-oriented films, should see Don't Look Back. You won't regret it.
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By E. Karasik on June 13 2004
Format: DVD
This film gives the viewer a candid view of an incredibly talented, precocious, irreverent, and actually quite beautiful young Dylan revealed in wonderful concert and behind-the-scenes footage. After seeing the film I felt that Dylan's legendary arrogance has been perhaps misunderstood -- actually he was pretty humble and engaging with school kids and fellow musicians -- more interested in learning from them than in showing off his own talents. What comes off as arrogance is his almost allergic aversion to simplistic, cliched, or hypocritical concepts imposed upon him by clueless, syncophantic journalists and fans. His trenchant verbal sparring with a reporter from Time magazine, in which he argues that the readers of Time are settling for secondhand drivel and that Time has too much to lose by telling the truth, is one of the most refreshing and amusing interviews I've ever seen. Likewise, one can appreciate his struggle to avoid being pigeonholed as either a political activist or a folk singer; certainly his political sensibilities are profound, but he understandably chaffed at the attempts to turn him into a mouthpiece for any single cause or established movement. His instinctive fight to keep the doors of perception ajar has proven well founded; it is precisely his protean shape-shifting and incessant search for new levels of meaning and musical expression that have made him such a timeless icon. The one sour note in the film was his obviously strained relationship with Joan Baez, not only a brilliant singer in her own right but also a witty mimic and comic, whom he relegates to groupie status and mostly ignores. Given the fact that she invited Dylan to share her stage when he was virtually unknown, one would have expected Dylan to have invited her to sing a song or two.Read more ›
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