Dont Look Back (1967)

Director:

D.A. Pennebaker

Writer:

D.A. Pennebaker (writer)

Release Date:

24 February 1968 (Sweden)

Genre:

Documentary | Music

Plot:

Documentary covering Bob Dylan's 1965 tour of England, which includes appearances by Joan Baez and Donovan.

Plot Keywords:

Bob Dylan | Tour | Hotel | Musician | Charisma

Awards:

1 win

Cast

Bob Dylan	...	Himself
Albert Grossman	...	Himself
Bob Neuwirth	...	Himself
Joan Baez	...	Herself
Alan Price	...	Himself
Tito Burns	...	Himself
Donovan	...	Himself
Derroll Adams	...	Himself
rest of cast listed alphabetically:
Howard Alk	...	Himself
Jones Alk	...	Herself

Also Known As:

Don't Look Back (USA) (orthographically correct title)

Runtime:

96 min

Country:

USA

Language:

English

Colour:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Finland:S | Singapore:PG | Sweden:Btl

Company:

Leacock-Pennebaker

Trivia:

Shot in 1965 during Dylan's British tour.

Quotes:

Bob Dylan: Give the anarchist a cigarette.

Movie Connections:

Spoofed in Walk Hard: The Dewey Cox Story (2007)

Anomalously acute.

Amidst the morass of irrationality, antinomianism, and sanctimony that is The Sixties (celebrated, for example, in "Hair" and "A Hard Day's Night"), "Don't Look Back" is refreshingly, almost cathartically, lucid and morally serious. There isn't a conversation that isn't intelligent on at least one side. Dylan's discussions with and about musicians and poets sparkle with a thirst for poetic and musical expression. The music is passionate, serious, and enjoyable.

About the competitive and business aspects of music, Dylan is game and reasonable. His manager, without screaming or hostility, tries to hold the BBC to, apparently, previously implied promises they are backing away from on the grounds of a contrary general policy. There are no implausible pretenses to asceticism.

Dylan never attacks anyone weak or who does not deserve it. Members of Dylan's entourage who do things that are dangerous or wantonly destructive, such as throwing a glass out the window, are sought out for reprimand. A hanger-on who tries to coopt Dylan to the idea that the two of them are superior for, well, I'm not sure for what, is well flustered by Dylan's Socratic questioning of that superiority. Young fans are put at ease, treated gently, and, in a way that obviates their awe, probed for reactions to his music.

Two instances reflect badly on Dylan. He is suddenly hostile to a Time magazine reporter, and insists that he should not be called a folk singer. The reporter is taken aback and exasperated (notwithstanding that the claim is accurate for sufficiently narrow definitions of "folk"). He doesn't argue, but behind the eyes you can see a quick mental retrenchment. The reporter gingerly tries a new tack, and salvages interesting and perceptive impressions. Talk about a bravura performance. More troubling is a member of the Animals going uncriticized for opening a bottle with a hotel piano. Does Dylan let pass from a star what he would justly rebuke in an ordinary person? It happened behind Dylan's back. Maybe he was unaware of it.