In 1965, filmmaker D.A. Pennebaker accompanied Bob Dylan to England to make a film about the singer/songwriter's British tour. At the time, no one could have known how fortuitous Pennebaker's timing would prove to be. Within a few months of this tour, Dylan would forsake his role as The Conscience of Folk Music to pick up a Fender Stratocaster and play rock and roll. Within a year, Dylan would suffer a motorcycle accident that would put him out of commission for nearly 18 months. Recording several brilliant solo ...
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In 1965, filmmaker D.A. Pennebaker accompanied Bob Dylan to England to make a film about the singer/songwriter's British tour. At the time, no one could have known how fortuitous Pennebaker's timing would prove to be. Within a few months of this tour, Dylan would forsake his role as The Conscience of Folk Music to pick up a Fender Stratocaster and play rock and roll. Within a year, Dylan would suffer a motorcycle accident that would put him out of commission for nearly 18 months. Recording several brilliant solo performances and capturing a wealth of fly-on-the-wall footage of Dylan's interactions with friends and strangers, Pennebaker caught Dylan on the cusp of a radical career change, and the man in this film seems to be thrashing about in his shackles, looking for some sort of escape route. Mark Deming, Rovi
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Seller's Description:
Bob Dylan, Joan Baez, Donovan, Marianne Faithfull. Run time: 96 mins. Originally released: 1967. 2 discs. Language: English. New but unsealed. Box is pristine with no cover or edge wear. All books, booklets and extras included. Includes appearances by Joan Baez, Donovan, and Marianne Faithfull. Includes the flip-book animation of "Don't Look Back, " considered the seminal 60s music video. A raucous and intimate road movie of Bob Dylan's 1965 tour of England, DON'T LOOK BACK may be the most influential rock star documentary of all time. D.A. Pennebaker's trademark cinema verité approach, with its comprehensive perspective, captures the paradoxical Dylan in alternating moments of confrontational belligerence and contemplative repose, all within the framework of the pop culture hurricane of one of the most publicized concert tours of the mid-1960s. Mobbed by frenzied fans and stalked by confounded journalists and music critics unable to penetrate his carefully evasive yet antagonistic persona, Dylan takes refuge with Joan Baez, his folk contemporary, and Albert Grossman, his juggernaut manager. As the tour progresses, a pattern emerges from Dylan's modes of expression, offering a glimpse of what would come to be a constant in his career: his perpetual redefinition of himself. Displaying the enigmatic performer's roles as both folk artist heir apparent to the Woody Guthrie throne and electric guitar rock pioneer who turned the Beatles on to pot, DON'T LOOK BACK preserves not only Dylan's musical genius but his inimitable, vital, and profound defiance of definition.