Sharon Stone

Rolling Thunder Revue: a Bob Dylan Story by Martin Scorsese

22/06/19

True confession: I’ve never been one of Bob Dylan’s greatest fans.

There, I said it. Oh sure, I had a brief infatuation with Highway 61 Revisited back in the day, and I’d be the first to suggest that The Lonesome Death of Hattie Carroll is a strong contender for ‘greatest protest song ever written.’ But something in Dylan’s mannered drawling voice made me decide that I preferred his songs sung by other artists. Now along comes this unwieldily titled concert movie, and I find myself having to re-evaluate my position. Rolling Thunder portrays an artist at the very peak of his powers, casually throwing out solid-gold belters as though by some kind of involuntary reflex.

Of course, there’s nothing new about a lot of this footage. It’s been mostly salvaged from Dylan’s own attempt to film his 1975/6 tour under the title Renaldo and Clara, which died a quiet death at the box office more than forty years ago. And this isn’t exactly a straight concert film either, featuring – as it does – some fictional elements. There’s Martin Von Haselerg as ‘The Filmmaker,’ claiming to be the film’s true author. There’s Sharon Stone, telling us that she was taken on as a wardrobe assistant on the tour at the age of eighteen (she wasn’t). And there’s Michael Murphy as ‘The Politician,’ making comments about the bicentenary that was taking place as Dylan and his motley crew strutted their stuff around a series of intimate venues across America.

But there’s plenty here to enjoy, not least a pugnacious rendition of Hattie Carroll with Dylan contemptuously spitting out the lyrics at the crowd; the scene where Joan Baez and Dylan reveal that the two of them really should have married each other, instead of other people; and, of special interest to me, the sequence where a radiant Joni Mitchell knocks out an early draft of Coyote, while Dylan and Roger McGuinn meekly accompany her on guitars. (This song, of course, is about her brief affair with playwright Sam Shepard, who also appears in the film.)

With its hefty running time, this might not have found an audience at the cinema, so Netflix seems the ideal home for it. Dylan aficionados will have a field day – and those who, like me, have been sitting on the fence concerning Mr Zimmerman, may have something of an epiphany.

4.4 stars

Philip Caveney

 

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The Disaster Artist

08/12/17

Let me begin with a question: is it ever possible to make a silk purse out of a sow’s ear? In this analogy, the sow’s ear is Tommy Wiseau’s movie, The Room (https://bouquetsbrickbatsreviews.com/2017/12/04/the-room/), a film of such toe-curling ineptitude that it actually hurts to watch it – and a film, moreover, that – since its initial release in 2003 – has somehow recruited a sizable coterie of avid fans, who gather at regular midnight screenings around the world to celebrate its general naffness. The potential silk purse is The Disaster Artist, the film about the making of The Room, in which James Franco plays Wiseau and, in a hubristic gesture that Wiseau would undoubtedly approve of, also directs.

Franco’s film opens in San Francisco in the 90s, where we meet young wannabe actor, Greg Sestero (Dave Franco), who is struggling to make some kind of impact on the local theatre scene. At a workshop, he encounters Wiseau, a mysterious long-haired individual who, when invited to improvise in front of the other students, unleashes a ‘performance’ of such unabashed fury, that the more inhibited Sestero immediately wants to know more about him. The two men become buddies and, when Wiseau casually suggests that they should go to Los Angeles and ‘get into the movies,’ Sestero happily goes along – Wiseau already has an apartment there and he’s perfectly happy to share it. It soon becomes apparent, however, that there are a lot of unanswered questions concerning Mr Wiseau. Where does his seemingly bottomless pit of money come from? Why does a man who claims to be a native of New Orleans have what sounds like a middle European accent? And why is he so willing to go to any lengths to impress Sestero? Will there be a price to pay?

When, after months of fruitless auditions have resulted in exactly zero film or TV roles, Wiseau announces that there is only one option left: he will write a movie script for the two of them to star in – and then he will direct it. Which is pretty much what happens. Wiseau’s complete ignorance of the film-making process means that he ends up spending over six million dollars on his little vanity project and, since he seems reluctant to heed any advice from professionals, the result of all his labours is an incoherent mess but, undeterred, he sets about arranging a premiere…

It would be very easy to make a cruel comedy out of this but, though the film is often laugh-out-loud funny, Franco’s evident affection for Wiseau shines through in every frame. As the director has said in interviews, it takes as much commitment and ingenuity to make a bad film as it does to make a good one and it will be a hard-hearted individual indeed who won’t feel for Wiseau when his beloved project is greeted by hoots of derision from all who see it. Franco’s impersonation of Wiseau is uncannily accurate, as are most of the other performances here. Sharp-eyed viewers will spot some big names in cameo roles: Sharon Stone, Bob Odenkirk, Seth Rogan, Josh Hutcherson, J.J. Abrams. Oh yes, and there’s Bryan Cranston actually playing himself. Most telling of all is the extended sequence at the end of the film, where scenes from The Room are played alongside their equivalent from The Disaster Artist. They are virtually identical.

So, the million dollar question. Do you need to have seen the original movie in order to enjoy this homage? Well, it may not be an essential requirement, but it certainly helps me to fully appreciate the care and attention that has gone into this project. Mind you, with the new interest in The Room that the film seems certain to generate, I wouldn’t be at all surprised if a general re-release is waiting in the wings, which I’ve no doubt will be a bonus for Mr Wiseau.

So, returning to my original question, in this case yes. The sow’s ear has become a silk purse – and this is definitely one of the most intriguing films of the year.

4.2 stars

Philip Caveney