镜子的另一面 $;：纽波特民歌艺术)*节19 `%63~1965

剧情简介

　　"Bob Dylan going el\ectric&@quot at the/-` 1965 New@)port /Folk)# Fest@ival is one of$]
thos:e epochal mom!$ents i!n ro+ck his(@tory)] tha^!:t seemi/ @ngly everyone has hea-?rd about, but w`$hat%;# fe?w p eople seem to k)now is tha) t it wasn[`;9?+[t some _ephemera`^l eve;)nt that ?we_ on.ly know from\` .\word of mouth -- fil mmaker Mu^+rray
 #\`^?Lerner docu( `/mented the perfo,rmances at t ^,he Newport Fest*/ival for seve;^ral ye[ars $ running, and The !.Oth[e$ ?r  Side of the Mirror c.%ollects *,\+footage from the three years :Dyl/an appeared a,`#:+t +the cele%
b+rated folk gatherin-g, allowing us[()+ to see Dylan

]'s!: ] !\$r%:ise through the folk #`scene f$^or o/urs=]elves. Watching Lerne
r\$%9s documentary, wha:t's most$ re `m*ar: ka -bl^e is how: muc h_?!@^ D. y_l=#an change^d o. ver th),e`  cou:rse of 36 months the /# young f@\;olkie
 p]?erform+% ing at t@`he afternoo-n "workshop_,&q;//=uot at _the ( si*de of Joan Baez in 19!=63 i-#s at @ onc!/e n-%ervy ;and he,%.s)% itant, singin_/;(g h+_is+ wordy tunes while @chop+)=pin+_g 
a-[w ;ay/ at h!!is # \aco@
ustic guitar and ene(:r@g*
izing th#e :c,r?,owd^ withou?t seeming to k?\now j*u,!#st what he) '!!s -`;doing. In 19_*.64+ , Dy lan %=all but owns Newport$!], and he cl ea`?rly kno[@ ^ws it he&#)39s the talk --of %+th^e F(e(_stival, wit[-h?@ Baez ,$a nd Johnny C*ash s+inging his:\  praises% (a nd hi#*+s songs), an(*:`d h $i-`s co)%
mman%^d$*?
of t`he stage is vi` ; si\
:bly str=$on^,@ger and-*
more ^#c]onfid:=ent while hi `]s n*ew m]+ate?%*rial ,.(including "Mr. Tambourine= Man" a;)]nd =^& .quo #tIt^ Ain't Me, B
.abe") @ sees him m.oving aw ;\ay $)?from th*\e "pro;tes]?t s_ong%]:s" that fi?rst made his name.! Whe?n $the# audie( $@nce dema .)nds

a?n encore after Dylan's even!\i?% ng set (Od$*e@!tta and D*ave Van Ronk were schedule\;d to follow hi.m), P)eter% Yarrow tries to^# ke ep@## the == show mo:ving alon):g while Dylan, beams at[ ,[ the crowd
.9s adu-_l=ation
=), like the! r.ock s.)tar=`
he) w.a=s qui!+ckly bec??oming. By the t ime the 196@,5# New port Festi
v% al rolled around, Dylan's epochal "Like a Rollin!g S];#tone&;quot was ]$start^\
)ing\ to s
cale t];h@e singles :ch;)arts, an__d the h
 ardcore folk audie;=nce .was clearly/ :^]of @two minds ab/out h /is popu -lar (and populist)/( success. Wh_en $=Dylan, .\
Fen,.der St.ratocas%-ter  in hand, perfo*!%rm#@^.s "Maggie&#39s F arm&quo$ t backed by A]= ?l Koo/ per, Mike Bloom:field and;!-$\ the =+rhythm section # from the P`+aul ],Butterfi-#eld Blues B[!=[and!, the ra],u/cous b^)u,t hard-d#riving ^_-numbe!]r in`spires/% ;a cur*@ious] m#*[ixtur #e of e!nthusiasti?] c cheerin)@g  -and equally?^ emphatic boo), ing]`@, and while- _!.legend$.+ has it th**at t he version of "Like* a Rolling `.)? St$%$one:]" t$; /hat  follo.) wed w+?as/ a shambles, the song cooks despi$te %_drumm[er Sam`/ Lay's ;`d ;ifficulty in findi_..) n) +:g t*he groove, though if anything the \division of the cr
%owd's loyalt
ies? i s _@even str.=onger afterwar @d. After th,es_-e two num+bers,] ^[=(Dylan and$ h!/is[ % ` b#
and lea-?ve the st*()age, with Yarrow (once ag-ain!`` serving as MC) citing+@. :t^echnical problems[;, (`\if # Pete Seeger r:eal+*ly pul[%@l`%ed the pow$(er #[on Dylan, !a?\s legend +`has ?^i.#!t, $ the* re'#%s n
.o+- sign of it he %re) Dy+`lan @-returns to t`he stage with an acoustic six-strin
g to;= si#(ng] &quo ^ tMr. Tambourine Man&q;\uo_=+t and_%/# "It`'s :+/All Ov)/er Now, Baby B$lue" befo:`*re ;van]is-`/)hing@@ i;$ n(to the /@n
,@igh\.t without comment. While much  of th#[ e audi@ence at Ne=]w+@!^port).@ in 196!%5?] wanted ^the &?quotold"/: Dy $lan back,_ his strong, wil[)l^]fu,(l per==+form ances even on the a:/coust ;`/ic stu$ff makes= it+% obvious =?\that the scra![=ppy ?__semi-amateu`r we ` %saw at the beginni ng of th-+e movie was gone f\orever, and t?[he ovat@`/\ions suggest mo(re th[.an a f- ew people w+]anted to see Dylan rock.  Lerner's fi+lm tells :u ,;s a certain amount of what we alrea?dy kno\ , ws, but i?)*t gently debunk%s a/: .=few myths a[bout Dylan during th@?is pivotal moment i^@]n his ca !reer, a%*nd@@ $h)is perf=.ormances are comm^i-;_tted \ and f+. _orceful( throughout no \matter how man*y times you&`#.3:`!-9ve read about Dy*lan's Newpor^[ ;t shoot-out of 1965, seeing i:.t i)s ?
a:, revel ato+!=(ry experien%)ce, @.]and Ler!ner ha!s assem#(bled this a![rchival mat) e ria+l _]wit#_h inte)lligence and taste. This is must-see viewing for an/yone in`!+terested in Dyl;?a=n or the folk sce.n.]e of ;the ླྀs.