I don’t quite know why I waited so long to watch “I’m Not There” but last night I finally did. I had been intrigued by Todd Haynes’ concept ever since first reading about it some years ago and have followed the progress and the criticism of the film with some interest since its 2007 release. Having now watched it, I find it visually stunning, awesome in scope and totally, totally mesmerising. The genesis of the film has been well documented, Haynes’ one-page treatment that he pitched to Dylan’s son Jesse, his idea of using composite characters to portray situations, emotions etc., rather than actual events, and not least his unusual (some might say bizarre) C.V. – check out “Velvet Goldmine” or “Superstar: The Karen Carpenter Story.” But it is with “I’m Not There” that Haynes really strikes gold. I am convinced that Bob Dylan must have been mightily amused at having his story told in the way that Haynes chose to tell it, everything is shown, but ultimately nothing is revealed. Dylan’s life and musical career are depicted in series of vignettes that are interwoven in a complex and non-linear manner that makes compelling viewing. Each of these covers a pivotal moment in Dylan’s life, some more instantly recognisable than others, and one of the films many strengths is the diversity and intensity of each of the characters concerned. Cate Blanchett is outstanding as Jude Quinn and was nominated for both an Oscar and an S.A.G. (she won neither), but it could be argued that her role was the easiest – i.e. the most recognisable, to portray, she also has the most screen time. That said, she really sinks her teeth into the part, to the extent that you often forget that you are watching a woman play a man, albeit an androgynous one. So concentrated was her performance that when in character she reportedly wore a rolled up sock down her trousers …it helped me walk like a man she said. She captures Dylan’s mid-sixties chain-smoking, nervous, edgy, obnoxious, wire-haired speed-freak brilliantly. But for me, Marcus Carl Franklin gives the outstanding performance, his cheeky, street-wise blustering yet ultimately vulnerable Woody (Guthrie) is superb, as is his astonishing performance of “When the Ship Comes in.” These two characters dominate the early part of the film, while Richard Gere’s mysterious and surreal Billy is the focus of the latter stages. In between, depicting Dylan’s reclusive years, his dodging the media and his eventual embracing of Christianity are Ben Whishaw’s Arthur, Christian Bale’s Jack and the late, lamented Heath Ledger’s Robbie. These are all solid performances, but I could not help thinking of them as minor characters when compared to the other three – Haynes also indulges in some considerable poetic licence during these sequences. There was originally a seventh character (Charlie), a Chaplinesque individual that would have slotted in chronologically between Woody and Jude, depicting Dylan’s early coffee house performances, but this role sadly had to be cut due to running time. Gere’s role as Billy is perhaps the strangest, but the most colourfully shot. Based loosely on several “Basement Tapes” characters with a little “Pat Garrett & Billy the Kid” thrown in this is a rich tapestry difficult to penetrate but beautiful to watch. Many masks and disguises here as the aptly named town of Riddle sees itself caught in a conflict of the traditional versus the modern. Oh, and there’s a giraffe in it.Non-Dylan fans will find much to enjoy in “I’m Not There” but for those of us with a deeper knowledge of the man’s work the clues, hints and references are manifold. This is not to say that Haynes is too clever by half, his attention to detail and commitment to his project are to be applauded. This is a stunning, beautiful, thought-provoking film that I look forward to enjoying many times over the coming years.
As a companion piece there is a double CD “soundtrack” which although excellent is slightly misleading. The vast majority of the music throughout the film consists of Dylan originals, and this is as it should be. All the usual suspects are there, along with some lesser known songs, including the wonderful and previously unreleased title track. However, the soundtrack album is certainly worth investing in. Highlights include: “Goin’ to Acapulco” (Jim James & Calexico), “Fourth Time Around” (Yo La Tengo) “One More Cup of Coffee” (Roger McGuinn & Calexico), the already mentioned “When the Ship Comes in” (Carl Marcus Franklin), “Senor” (Willie Nelson & Calexico) and of course “I’m Not There” (Bob Dylan & The Band). These are personal favourites, but there are thirty four tracks in total so there is much to enjoy. Highly recommended.
