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"I thought it an interesting film ,what with the modern updates by contemporary artists bringing a similar energy to the original in the tracks played.The music also explained pieces of the jig-saw: the multi-personae that he adopts-the psychic trickster,the outlaw cowboy, the mystic savant,the Cassandra of doom. Each actor gave themselves totally to their role-the many selves of Dylan:Jude,Billy,Woody,Robbie,Arthur etc.Gere looked like somebody who strayed from 'Pat Garrett & Billy the Kid',a rancher from the Basement Tapes out of John Wesley Harding Americana.He gave the film it's still centre.The young actor playing Woody captured well a character out of Dylan's backstory. Blanchett captured the hermaphroditic mercurial Dylan of 65-66 after he'd turned electric.London out of a Fellini movie.Whishaw was the evasive Dylan of the press conferences and played the Arthur Rimbaud period of Chimes of Freedom and Tamborine Man in the post protest phase. Protest phase was captured very well by Bale in late 60s and conversion to Christianity phase(2 in 1).Ledger captures the cool Dylan and the Dylan of Blood on the Tracks.The female cast are excellent especially Gainsborough who gives the film dignity and restraint, and Moore covers Joan Baez in reminiscence and of course the impressive Blanchett. the choice of music was not necessarily his best known or liked tracks but some surprisingly illuminating ones which help explain the background scenes.I liked particularly'I'm Not There' by Pearl Jam and 'Going to Acapulco' by Calico. There is a nod to different film-making styles eg. Ledger's Dylan would reflect French New Wave especially in it's treatment of women:to be worshipped but not creative in their own right.I felt this film was a brave attempt by Todd Haynes as a fan of Dylan's music and the chameleon-like changes the man-performer went through."

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