This is a an ambitious film. It is dense with metaphor and allusion throughout, and I was left feeling that I comprehended a mere fraction. Repeated viewings would doubtless be rewarding, and I plan to watch it again, preferably with folks who know more about the history of the blues. Dylan is the "simple" bard making his way through an apocalyptic society torn by dictatorship, corruption, and civil war -- a contemporary Hell. (The sets have a prescient and eerie resemblance to footage coming out of Iraq.) If Dylan is Virgil, it is by virtue of the songs themselves, poetic ballads that address the profound questions, yet whose significance, as Dylan comments at the end of the film, remains in the eyes of the beholder. Hearing the songs covered by other artists provides a fresh window on their brilliance, and there is a little girl who will break your heart with her georgeously-phrased a cappella version of "The Times They Are A-Changin'." There are also some spectacular Pynchon-like stream of consciousness monologues by a cadre of talented actors on various themes, often punctuated at the end by a cryptic/irreverent/oracular comment from Dylan. I was entertained by the juxtaposition of silly humor, which in some instances resonated with the more nuanced literary points, such as the leopard joke ("What did the monkey say to the leopard at the card game? I thought you were a cheetah.")which nevertheless evokes the leopard Dante encounters in the first canto of The Inferno. And unlike some other reviewers, I found Dylan's acting pretty natural, and got the sense he actually did lay it on the line with respect to his personal viewpoint. This is not to say the film is a total success -- but rather even where it veers into obscure digression and fails to engage the audience, it fails nobly by aspiring to be all that film can be.