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Tag Archives: Wim Wenders

A Decalogue of the Dopest Dylan References in Movies

Bob Dylan turns 71 years old this Thursday. Following last year’s birthday post on Todd Haynes’ I’m Not There, today I will pay a different kind of tribute related to Dylan and the movies. Below is a list of my top ten favorite Dylan references in cinema, excluding films that are actually about Dylan (e.g., Don’t Look Back, Eat the Document, I’m Not There), movies in which Dylan himself appeared (e.g., Pat Garrett & Billy the Kid, Renaldo and Clara, Masked and Anonymous) or films to which he contributed original songs (e.g., Wonder Boys, Gods and Generals, My Own Love Song). Instead, what you have is a list of great movies that just so happen to make significant references to Hibbing, Minnesota’s favorite son through their soundtracks, dialogue, set design or props.

10. “Blowin’ in the Wind” playing at Emily Watson’s wedding in Lars Von Trier’s Breaking the Waves (1996)

Breaking the Waves is a shamelessly manipulative but undeniably effective spiritual melodrama that probably still stands as Lars Von Trier’s finest hour. Set in rural Scotland in the 1970s, it poignantly depicts the relationship between Bess (Emily Watson), a woman from a deeply religious community and Jan (Stellan Skarsgard), an oil rig worker and “outsider” who is paralyzed in an accident shortly after their wedding. Here, Von Trier eschewed the formalism of his early work, showing a greater desire to collaborate closely with actors (before his obsession with female suffering started to seem dubious) and a then-novel use of handheld cameras and grainy video textures (before such aesthetics became old hat). The film also has a superb period soundtrack featuring the likes of Leonard Cohen, David Bowie, Roxy Music, et al. but Dylan fans might be especially pleased by the instrumental bagpipe version of “Blowin’ in the Wind” that plays at Bess and Jan’s wedding.

9. Jeffrey Wright singing “All Along the Watchtower” in Michael Almereyda’s Hamlet (2000)

Michael Almereyda’s Hamlet is a brilliant film adaptation of Shakespeare’s best loved play that keeps the Bard’s original dialogue intact while updating the sets and costumes to present-day New York City. The inspired casting includes Kyle MacLachlan as Claudius, Diane Venora as Gertrud, Bill Murray as Polonius and Dylan’s old pal Sam Shepard as the ghost of Hamlet’s father. My favorite scene features Ethan Hawke’s Hamlet delivering the famous “To be or not to be” monologue in a Blockbuster Video store. My second favorite scene sees Jeffrey Wright’s Gravedigger singing “All Along the Watchtower” in a trench. Perhaps because the lyrics to “Watchtower” already sound like they could be from a Shakespeare poem, this touch feels ineffably right.

8. Dennis Hopper reciting a lyric from “I Pity the Poor Immigrant” in Wim Wenders’ The American Friend (1977)

Wim Wenders’ film adaptation of Patricia Highsmith’s novel revolves around Tom Ripley (Dennis Hopper), an American con artist living in Berlin. The plot concerns Ripley’s contracting of a picture framer with a fatal disease (Bruno Ganz) to commit murder, but story ultimately takes a back seat to characterization in this slow-paced, moody, atmospheric neo-noir. A good example of Wenders’ existential bent can be found towards the end when Ripley half-sings/half-talks the opening line to a gem of a song from Dylan’s John Wesley Harding album: “I pity the poor immigrant who . . .” and then Ripley’s voice trails off. Any Dylan fan knows that had Ripley kept singing, the lyric would have described his character’s predicament exactly: “. . . wishes he would’ve stayed home, who uses all his power to do evil, but in the end is always left so alone.”

7. Myriad references in the films of Quentin Tarantino

Quentin Tarantino has said that when he was a video store employee, long before he became a director, he aspired to be “as important for cinema as Dylan is for music and songwriting.” Since then, the two have become mutual admirers and occasional sparring partners. Some of the myriad references to Dylan in the films of Tarantino: in Reservoir Dogs, Steven Wright’s DJ introduces “Stuck in the Middle with You” as a “Dylanesque pop bubblegum favorite,” single-handedly causing the song to be misidentified as an actual Dylan number on countless mp3 download sites. (This begs the question, if Tarantino had a bigger music budget at the time, would “Stuck Inside of Mobile with the Memphis Blues Again” be the song forever associated with Michael Madsen torturing a uniformed police officer?) Death Proof contains two very interesting Dylan references, which is hardly surprising given that Tarantino was listening to Dylan’s then-new album Modern Times while driving to the set every day; the jukebox in the film contains no less than six Dylan songs, including “George Jackson” (which, let’s face it, is Dylan’s blaxploitation song), and the magazine rack in a convenience store scene features the 2006 Rolling Stone magazine with Dylan on the cover. In Inglourious Basterds, the title characters are all Jewish American G.I.s, one of whom boasts the name of Zimmerman(!), while elsewhere Brad Pitt attempts to end a standoff by telling a German soldier “. . . you go your way and we’ll go ours.” For his part, Dylan’s only known public comment on QT was a nice acknowledgement on his Theme Time Radio Hour radio show that Bobbi Womack’s “Across 110th Street” was prominently featured in Jackie Brown.

6. Stephen Rea as a Bob Dylan impersonator in Lance Daly’s Kisses (2008)

One of the most Dylan-centric films ever made, this delightfully dark Irish fairy tale concerns two working class pre-adolescent kids who run away from their suburban homes at Christmas and spend a long night on the mean streets of Dublin. Along the way, the kids repeatedly encounter the music of Bob Dylan (including being serenaded by a barge skipper with “Shelter from the Storm”), a series of events that climaxes with them running into an Australian Dylan impersonator whom the kids mistake for the man himself. Ironically, Stephen Rea, wearing a cowboy hat, smoking a cigarette and wryly speaking in a low-pitched voice in his un-billed cameo, comes closer to nailing the essence of the real Dylan than any of the actors in I’m Not There.

5. Teenagers smoking hash and slow dancing around a bonfire to “Knockin’ on Heaven’s Door” in Olivier Assayas’ Cold Water (1994)

My favorite film by formidable French helmer Olivier Assayas is this 400 Blows-esque ode to juvenile delinquency that apparently draws on the director’s own childhood experiences. The movie’s highly emotional climactic scene involves troubled teenaged lovers Gilles and Christine running away from home and attending a party where they smoke hash and slow dance around a bonfire to an incredible vinyl playlist that includes Leonard Cohen’s “Avalanche” and Dylan’s “Knockin’ on Heaven’s Door.” Dare I say that the use of “Knockin'” here is even more effective than in Pat Garrett and Billy the Kid (the film for which it was originally written)?

4. Nick Nolte painting to a live version of “Like a Rolling Stone” in Martin Scorsese’s Life Lessons (1989)

The undisputed highlight of New York Stories, an omnibus feature film comprised of shorts by Francis Ford Coppola, Woody Allen and Martin Scorsese, is Life Lessons, the Scorsese segment about an abstract expressionist painter who falls in love with one of his models. And what better song for Nolte’s volatile character, Lionel Dobie, to use as the soundtrack for an intense painting session than the angry, cathartic live 1974 version of “Like a Rolling Stone” from Dylan’s Before the Flood album?

3. Jean-Pierre Leaud asking “Who are you, Mister Bob Dylan?” in Jean-Luc Godard’s Masculin-Femninin (1966)

Jean-Luc Godard’s zeitgeist film about the “children of Marx and Coca-Cola” captures the spirit of what it meant to be young in the turbulent 1960s perhaps better than any other movie. At one point, while reading a French newspaper, Jean-Pierre Leaud’s character, the boyfriend of a pop singer named Madeleine, has this exchange with a friend:

“What are you reading?”
“An article on Bob Dylan.”
“Who’s he?”
“He’s a Vietnik, you know.”
“What’s that?”
“It’s an American word, a cross between ‘beatnik’ and ‘Vietnam.'”
“Who are you, Mister Bob Dylan?”
“Madeleine never mentioned him? He sells 10,000 records a day!”

Dylan and Godard have spoken of their mutual admiration for each other over the years and two of Godard’s films from the 1980s (Grandeur et décadence d’un petit commerce de cinéma and Puissance de la parole) feature Dylan’s Slow Train Coming classic “When He Returns” on their soundtracks.

2. A black and white photograph of Dylan from the mid-1960s hanging on the wall in the central location of Edward Yang’s Yi Yi (2000)

Edward Yang’s masterpiece, one of the great final films of any director, is an almost impossibly rich, tragicomic, multigenerational family saga that also functions as a vivid snapshot of Taiwan at the dawn of the 21st century. Taipei’s unique East meets West culture is illustrated in ways both obvious (N.J., the protagonist, leaves a wedding early so that he can take his son to eat at McDonald’s) and subtle (a framed black and white photograph of Bob Dylan is prominently displayed in N.J.’s home). Since N.J. is a businessman and music lover who abandoned his youthful idealism in the late ’60’s, the latter is a very nice touch indeed.

1. A vinyl LP of The Freewheelin’ Bob Dylan as an important prop in Jacques Rivette’s L’amour Fou (1969)

L’amour Fou, Jacques Rivette’s four hour improvisational film about the construction of a play and the destruction of a marriage, is one of the high points of the entire French New Wave. Jean-Pierre Kalfon plays Sebastien, a theater director who cheats on his actress wife, Claire (Bulle Ogier), with another actress named Marta (Josée Destoop). In one key scene, Sebastien is in Marta’s apartment helping her sort through vinyl LPs that she could potentially re-sell in order to raise some quick cash. He holds up her copy of The Freewheelin’ Bob Dylan, which she declines to sell on the grounds that she still listens to it. Good girl!

Dylan fans reading this should feel free to chime in with their own favorite Dylan references in the movies in the comments section below.

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