I'm Not There.
Tags: cruelty, anti war, cult, psychedelic, satire, romantic, revenge

Plot synopsis:
The film is inspired, as the credits say "by the music and many lives of Bob Dylan". We see a POV shoot of a performer walking out on a stage at his concert to perform, then it cuts to him riding his motorcycle just before he crashes, just as Dylan did in 1966. We see the crash victim is Jude Quinn (Cate Blanchett), who has an autopsy performed on him.In 1959, a 12-year-old African-American boy (Marcus Carl Franklin) is riding the rails as a hobo. He meets two older hobos and introduces himself as Woody Guthrie. Woody carries around a guitar labeled "This Machine Kills Fascists" as did the real Woody Guthrie. Woody is traveling across country to fulfill his dream to be a singer. Woody tells the other hobos his life story. He is once tried to perform with a circus but is made fun of and kicked out for unknown reasons (although wrestler Gorgeous George gives him a hand). Woody later meets and befriends an African American family where he stays at their home to be cared for, he also sings "Tombstone Blues" with two of the men. Woody later has dinner with the family where he is lectured by the family matriarch. She reminds him of the goings on of the world and tells Woody to, "Live your own time child, sing about your own time". Later that night Woody leaves the home and a note thanking the family for their hospitality and hops aboard a freight train. Later that night he falls asleep and is awakened by thieves who are looking for money and attempt to rob Woody, but he gets away by jumping off the train and into a river. He seems to imagine an unknown woman underwater and then seems to see himself getting eaten by a Moby Dick-like sperm whale. A white couple later finds him unconscious and take him to a hospital, with a little water in his lungs but he survives. The couple take him into their home to temporarily care for him and he performs "When the Ship Comes In" for them. However, they soon get a call from a juvenile correction center in Minnesota which Woody had escaped from. Woody then leaves the couple's home and takes a train ride (which brings us to the beginning of the story with the two other hobos). He hops off in New Jersey to visit his idol, the real Woody Guthrie who is slowly dying in a hospital. Woody bring flowers and weeps at Guthrie's beside, and is last seen playing a song for his comatose idol.An artist is being interrogated and identifies himself as Arthur Rimbaud (Ben Whishaw), after the French poet that Dylan idolized. Arthur is based on the Dylan of 1964-1965 who tweaked the press in endless interviews. In this blank interrogation room, he evades questions, reads prose and tells people stories of his life; he is somewhat of a narrator of all six stages throughout the film.In a PBS-style documentary, we are shown the rapid rise of Jack Rollins (Christian Bale), a version of Dylan that focus around Dylan's folk era in the early 60's in Greenwich Village. Jack's story is told by people who knew him, especially a folk star named Alice (Julianne Moore) who is based on Joan Baez. He is also praised by many folk fans who refer to his songs as anthems and protest songs, whereas Jack himself refers to them as "finger-point songs". Jack Rollins later accepts the "Tom Paine Award" at a civil rights meeting, shortly after the JFK assassination, where a drunken Rollins insults the people in attendance and claims that he saw something in JFK's alleged assassin Lee Harvey Oswald which he also saw in himself; then the shocked people begin to boo Rollins out of the room. A still-outraged Rollins is seen dismissing folk and protest music in front of the press.In a dramatization of Jack Rollins' story called "Grain of Sand" (a reference to Dylan's 1981 haunting gospel song "Every Grain of Sand"), the folk hero is played by actor Robbie Clark (Heath Ledger). Robbie tells his life story from the first time he met Claire (Charlotte Gainsbourgh, the woman Woody imagined underwater earlier) in a Greenwich Village diner where his fascination with her is her French heritage. Claire is based on Suzie Rotolo (Dylan's girlfriend from the early 1960s), but more so on Dylan's wife Sara Lowndes. The relationship between the two becomes serious as they are seen making love for the first time in their apartment, and going for series of disasterous motorcycle rides. Robbie and Claire are later seen at the premiere of "Grain of Sand" which was disappointing to Claire and the audience. One night Robbie's marriage begins to go downhill as he has a party with his friends at his home and his wife Claire catches him with his hand between another woman's thighs. The relationship continues to deteriorate as Claire notices Robbie's misogynist attitude, insinuating that "guys and chicks are different" and "chicks could never be poets". Robbie leaves the family for a while to film a new action-thriller movie of his. During his absence Claire attempts to get a hold of Robbie on the phone but doesn't answer as he is seen coming out of the shower and seeing another woman. Claire tells Robbie she's going to leave him, although they make love on last time. Robbie comes home to bring Claire's family pictures from his house. Robbie and Claire are later seen in court when they gain 50/50 custody of their children. Robbie is last seen visiting his kids and taking them on a boat trip.Jude Quinn attends the Newport Folk Music Festival. Quinn comes on with a band and imagines himself and the band pulling machine guns out and mowing down the crowd. Instead, Quinn launches into the rocking "Maggie's Farm". Jude is heavily booed by the outraged fans as an unnamed Pete Seeger lookalike attempts to cut the stage power with an axe but is stopped by security guards, in reference to Seeger's claim at the time of "If I'd had an axe, I'd have cut the power". A number of folk fans are seen expressing their disappointment on Jude's new turn as a rock star from a protest singer. Jude is considered a sell-out. Jude flies over to England on tour and is seen at a press conference where he is asked questions that Dylan was asked in his famous interviews from the 60's such as how many folk singers are there and if he is trying to change the world. Later in Jude's apartment in London, England, Jude is confronted by a waiter who threatens Jude with a knife because of his departure from protesting. The man is then knocked out by Jude's lover with a bottle and is carried out of the room. Jude is next apparently using drugs with The Beatles (seen in the frantic style of Richard Lester's A Hard Days Night), but is interrupted by reporters and people asking him inane questions. He confronted by Keenan Jones (Bruce Greenwood), a journalist. Jude hallucinates his ex-lover Coco Rivington (based on Edie Sedgwick) after their apparent departure from each other. Coco is now seeing another man who is a friend of Jude's. Jude is then taken in a car by his friends and Keenan Jones as his condition from drugs begins to have an effect on him. The group then meets the famous poet Allen Ginsberg (David Cross), who hits it off immediately with Quinn. Keenan Jones later challenges Jude if he cares about people, and what he sings every night, to which Jude replies, "How can I answer that if you've got the nerve to ask me?", (similar to Dylan's Time Magazine Interview in 1965), Jude then leaves the car in disgust and walks off. Quinn is seen performing "Ballad of a Thin Man", with it's refrain of "something is happening here, but you don't what it is, do you Mr. Jones?". Keenan Jones is seen having hallucinations in keeping with the song's lyrics including a naked version of himself, a reference to the line "You see somebody naked and you say who is that man". After Jude is finished at the concert singing "Ballad of a Thin Man", several outraged fans shouts "Judas!", Jude replies "I don't believe you". As the fans run upon the stage in an apparent attempt to attack Jude, he narrowly escapes with his band. Mr. Jones gets a year book from Jude Quinn's high school years in order to reveal Quinn's true identity (the pictue shows a young Jack Rollins). Jude is back in his apartment where he sees Keenan Jones on television and reveals that he is really Aaron Jacob Edelstein and he was a middle-class, Jewish kid that never left Hibbing, Minnesota before high school. The revelation destroys Jude. Jude later has a party where he invites his friends, band and Coco Rivington. Jude and Allen Ginsberg are seen at the foot of a crucifix, "talking to Christ". Jude is seen with his buddies using drugs and getting drunk as Jude insults Coco in front of her lover stating "She has the sweetest little pussy", Coco, humiliated, runs downstairs in embarrassment. As he continues to verbally savage anyone near, Jude's condition from the night's drugs and his insomnia worsens and he vomits on his friend's lap. Jude's friends carry outside into his car and drives him to a hospital. Soon, Jude is seen passed out on the floor with his friends staring down at him. Allen Ginsberg states, "He's been in so many psyches", which this indicates that he's moved on to another life. The story then cuts back to the motorcycle wreck showing Jude laid out violently on the ground. Jude is last seen in his car addressing directly to the viewer, "Everyone knows I'm not a folk singer".Later, in 1974, 11 years after the civil rights award, Jack Rollins has apparently become a born again Christian and goes by "Pastor John". Rollins went to California with his girlfriend to a church for Bible studies and is later reborn and becomes a preacher. Pastor John is last seen giving testimonies to the fellow church members (as Dylan did in his concerts in the late 70's when he became a born again Christian), and sings his gospel song "Pressing On".Through the film, we see Billy (Richard Gere), seemingly thinking back on the other Dylans (Billy is based both on the Dylan who withdrew from the public eye in Woodstock after his motorcycle crash and the older, seldom-seen Dylan). Billy is an aged loner seemingly of the Old West who lives on the edge of a town called Riddle. Billy is first seen waking up to the barking of his dog "Henry", he takes his dog outside and ties his leash to a fence but the dog manages to run away. Billy is then forced to look for her in the woods but does not catch her. Billy then has flashbacks of his past life of the Robbie Clark persona, when his marriage failed. He looks from his stunning mountain view, but catches flashes of unrest a view valleys and catches disturbing glimpses in his mind's eye of Vietnam and other violence, but looks away. Billy later rides out to the gravel highway and runs into his friend Homer, a reference to Dylan's song from "The Basement Tapes", "Open the Door, Homer". Homer is selling some of his old belongings as Billy asks if Homer had seen his dog, which he had not seen. Homer tells Billy that Old Man Pat Garrett is destroying Riddle County, and the suicides of the depressed people as well as murders, amongst them was a young girl named Ms. Henry. Billy then goes to Riddle County to pay his respects to Ms. Henry and Mr. Montgomery for their services. As the townspeople are celebrating Halloween the funeral services are being held outdoors as a band sings "Going to Acapulco" (performed by Jim James and Calexico). After the services Pat Garrett (Bruce Greenwood) arrives and confronts the townspeople. Billy puts on a Halloween mask to disguise himself and tells Garrett to stay clear of Riddle County. Garrett asks what his names is, Billy replies "William"; Garrett then asks him to show him his face, Billy then takes off his mask and reveals himself and is recognized by Garrett (we see a flashback of when Garrett was Keenan Jones). Garrett then orders the authorities to arrest Billy. Billy is then taken to the county jail. Billy escapes from jail with Homer's help and runs to the running trains as Billy catches a ride. Homer stays behind gives his farewell to Billy. As he's on the train he sees his dog Henry chasing after him and he calls for her but doesn't catch up with the train in time, Billy tearfully says "Goodbye my Lady". On the train, Billy finds a dusty old guitar that reads "This Machine kills Fascists", the same guitar he had as Woody Guthrie. Billy then sits in the train and plays the guitar. Billy's final words are "People are always talking about freedom, and how to live a certain way. Course the more you live a certain way the less it feels like freedom. Me? I can change during the course of a day. When I wake I'm one person, when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time. It's like you got yesterday, today and tomorrow all in the same room. There's no telling what's going to happen". The train then rides off.The film ends with a clip of Bob Dylan playing his harmonica from the documentary Eat the Document then the film slowly fades away.

Review: But Jack doesn't want to be typecast and "betrays" his adoring public and his lover and folksinging champion Alice (Julianne Moore), a Joan Baez stand-in seen in later "interviews." Jack disappears and his place is taken by Robbie (Heath Ledger), a young actor in New York who becomes famous for starring in a 1965 film depicting the vanished Jack.
Robbie meets Claire (Charlotte Gainsbourg) in a Village coffee shop and falls in love, and a turbulent ten-year marriage follows, winding up painfully at the time of the Vietnam War's end.If Jack represents the cast-off early style and Robbie represents Dylan's family life, Jude (Cate Blanchett) is Dylan the artist, quintessentially as seen in the mid-to-late Sixties when he toured England (an event notably chronicled by two Leacock-Pennebaker documentaries)and shocked his audiences, some of whose members felt betrayed and shouted "Judas!", when he shifted from solo guitar and harmonica to more personal songs with loud rock accompaniment.
Haynes' film makes you think about biography itself, as well as giving imaginative shape to aspects of Bob Dylan no non-fiction account can really provide.Maybe it's the daringly experimental methodology that led Dylan himself, approached through his eldest son Jesse,to grant Haynes both the musical rights and the biographical rights.
The fact is this couldn't be further from the truth - being a person that is indifferent to the music appears only to heighten the enjoyment.Somewhere during the last five years, writer/director Haynes came upon the slightly trampled idea of conducting a Bob Dylan biography movie.
I recently watched I'm not there and this movie isn't done in a way that really makes sense sometimes or flows, but after the first 10 minutes you really understand what is happening.This movie has differen't stories from differen't characters that come in and differen't times, and they all have something to do with bob Dylan's life.I thought the movie was gonna show one story at a time, but they show one for like 5 minutes then another one and comeback to it later and sometimes only show a clip for it for a few seconds.This is done in a very art-house style and is for fans of the genre, it isn't abstract crap like some movies but actually has some great scenes that are visually wonderful.Some scenes play like Fellini's 81/2 and this movie feels like a foreign film a lot of the time but the characters speak English.This movie is far from perfect for my taste and I am not a huge Dylan fan but I respect him a lot, the movie pretty much does a good job at pulling you into it and you go for a ride.It's well made and the acting is good all around, don't watch the movie if you don't like art type films or movies that focus on characters and out of place scenes that are put there for a visual purpose.It's a cool flick and I think a lot of people can respect it, it's nice to see something original and not in some movie formula like a lot of Hollywood blockbusters we get these days..
Oh dear), and I have to say, I'm glad I was there - even if Bob Dylan wasn't.The much-publicised, overly re-hashed concept driving the film is this: Dylan is portrayed by six actors of different races, ages and genders, none of whom are named Dylan, but represent aspects of his personality and life story.
The self-parody is just hilarious in this film.To add to these 'layers', each actor's "stage" that they represent is filmed in a distinctive cinematic style, for example, the Cate Blanchett as Jude Quinn representing Bob Dylan sequence is shot in lush black and white.
Charlotte Gainsbourg is also quietly moving in her role as the neglected wife of Ledger's character.My final opinion is that the film is well executed, but only once you've had time to ruminate on it, research Dylan and hear the director's thoughts on his own work.
Blanchett plays an incarnation of Dylan that would be right around the time of "Don't Look Back".Although I think Todd Haynes is mostly successful here, I fear that this will be a film that will really interest people who already know about Bob Dylan, and that it will sort of fly over the heads of everyone else.
Take all the music, everything you've heard, read, seen in documentaries about Bob and throw them in a blender and pull them out and what you get is "I'm not there" And it's a tasty concoction of a movie that comes off like a dream of everything that's publicly known about his life.
Bobby does not come off to well as a human being.Later on, Bale reappears as a born again pastor, which showcases Dylan's brief Christian period , preaching to a congregation and singing the gospel tune "Pressing On" from the album "Saved."Heath Ledger is in a film within the film as an actor playing the Christian Bale character in the least interesting part of I'm Not There.
Haynes's tapestry is "inspired by the music and lives of Bob Dylan" - he introduces us to 6 different Dylans: Jack Rollins (Christian Bale), Woody Guthrie (Marcus Carl Franklin), Jude Quinn (Cate Blanchett), Robbie Clark (Heath Ledger), Billy the Kid (Richard Gere) and Arthur Rimbaud (Ben Whishaw), interweaving their stories in a groundbreaking narrative slightly similar to Todd Solondz's unsettling, caustic "Palindromes" (2004), in which several very different actresses (and a boy) play a 13 year-old pregnant girl.
Haynes crafted a unique film that's a feast for the eyes (thanks to cinematographer Ed Lachman, "The Virgin Suicides", who also co-directed the disgusting "Ken Park" with Larry Clark), ears (Dylan's music is always a pie in the sky) and mind (it'll make you admire the man even more, and it doesn't even need to be an ass-kissing biopic to succeed on that).
The cast is heterogeneous and solid, but I think critics are overrating Cate Blanchett for the sheer fact that she's playing a man (which makes things more challenging for her, indeed), when she's not really better than most of the cast; a good performance for sure, but I was much more impressed by Christian Bale and the young revelation Marcus Carl Franklin.
All in all, this isn't a film that will enjoy big commercial success, and it's probably too artsy (although, not in a bad way) to get the Academy's top prize (even though Blanchett's performance and, maybe, Haynes's magnificent directing/writing, will probably be remembered), but it's a real gem for those who want to see something really exciting and original.
Though the whole story should be relatively easy enough even for the non Dylan fan if at a point you feel a bit lost just pause and remember this: Don't worry, you didn't miss anything, there wasn't anything there to begin with.The poor quality of script plays a key role in this films failure it is not alone.
When I learned about Todd Haynes' films about Bob Dylan where different aspects of his personality during different times of his life, represented by the different performers, I became a little suspicious.
You should have made the movie with one Bob Dylan - like figure and it should have been Cate Blanchett.
But in one point- and I'm positively sure about that- Todd Haynes wasn't right- being Bob Dylan must be a lot more exciting than this movie.
That this movie earned a spot on so many top ten lists demonstrates just how desperate people are to agree that the emperor does indeed wear clothes, when it's plainly obvious that he's nude.It is the most meaningless and time-wasting biography of a life that I can recall seeing (although I'm not eager to remember any, so they kind of fade away), and the result is a tedious mind-grinding bore for the viewer.Maybe this is due to its subject matter, but I'll never know, because the film has so failed to tell me anything worth knowing about its subject, I'm not even curious to know any more.
But the presentation is so jumbled and pretentious that it became increasingly more of a chore for me to finish watching this.I have long appreciated Dylan's music and his way with words and, after having seen this film, I think I should just leave it at that.
I'm Not There (2007)So startling in its invention, so beautiful and stunning the photography and acting, and so appropriate for its subject, Bob Dylan, why does it not quite hold water?Don't get me wrong, I love the movie, the music, and Cate Blanchett equally.
That should help with some orientation for the different characters and scenes.For those who are right for the film, including no doubt the director Todd Haynes, who got Dylan's approval for the project ahead of time, this will be a memorable experience..
He relies on six actors and actresses to play parts of the enigma that we know as Bob Dylan.Haynes style is magnificent; the music is engrossing; the acting is on point from every actor in the film with award worthy performances scattered throughout; the cinematography was excellent; the writing superior to most of this decade and the editing was excellent.
Even when I had only heard of the idea of having 6 different actors in a movie playing different personalities of Bob Dylan, I thought it was stupid.
This movie is nothing but pretentious, self-indulgent crap.Bob Dylan's best music always works on two levels: you can enjoy it just for sounding great or you can really dig into it and figure out the true meaning of the author's poetry.
This is exasperated by the fact that Ledger's character is actually that of an actor who played the role of Bale's fictional Dylan in a movie within the movie (if that makes any sense!) It's obviously modelled on the domesticated, Woodstock-era Dylan but just what it achieves by being at a further remove from its source is something lost entirely on this viewer.To be sure, there's an interesting film essay to be made about Dylan (if any more really need be documented on the great man) but it ain't this, babe..
Using six totally different types of people (black boys, women, etc) to highlight a different period of Bob's life might have seemed pretentious on paper, though it remains evident why some big names attached themselves to the project after reading just that- Haynes produces the uncanny feeling of prodding this man's public soul in a way that is neither stubbornly elusive or obnoxiously obvious.It's a bit slow to start, and the movie is not without it's weak segments, but framed around Cate Blanchett's rightly praised, scene-stealing turn as the most provocative of the Dylan personalities, Haynes has pieced together one of the most rewarding puzzles of '07..
I wish I was better prepared to accept the sheer audacity of Todd Haynes' wildly imagined take on Bob Dylan's life and legend because this 2007 film requires a certain mindset to accept a fragmented story thread that tethers together six disparate evocations of his persona.
I understand that I didn't like the movie largely due to the fact that I couldn't get all the pieces together, and I couldn't do that since I'm not a Bob Dylan's fan and I've never read a lot about him.
His closing comments were that this movie was 'just like a Dylan song, you don't have to understand everything to enjoy it'.After watching this film, I was amazed at how right those words just were.
The pseudo-symbolism is missed if the viewer hasn't followed Dylan's life or his many musical works.One character was a real cynic, another kind of a lover, then it got confusing with young African-American kid, calling himself Woody Guthrie and some old dude running around, who I think was Billy the Kid?
The Life of bob Dylan, told through the performances of various different actors.A film is suppose to, among other things, entertain it's viewer on some level.
To begin with, I've been a longtime fan of Bob Dylan's music; I know of the various phases his career took, but still can't consider myself an expert on him  in fact, I haven't watched any of the documentaries about the elusive musician (despite owning DON'T LOOK BACK [1967] on VHS for some time) but did get to see him in three feature films, namely PAT GARRETT AND BILLY THE KID (1973), the concert movie THE LAST WALTZ (1978) and MASKED AND ANONYMOUS (2003).I was aware of the acclaim garnered by Haynes' fantasia on Dylan's many 'lives' but I have to say I was left disappointed; it's not that I expected the film to be clear-cut or comprehensive (after all, the protagonist is played by six different people!) but, at the end of the day, despite its over-generous length (135 minutes), one has come no closer to understanding the man than he was before  which renders the whole enterprise not only pompous but pointless!
By the way, the acting is variable: Cate Blanchett's much-touted Oscar-nominated performance is good albeit overly mannered, though only Christian Bale (who gets to play two separate incarnations of Dylan) approximates the musician's famously nasal voice; Heath Ledger is typically brooding, but he's matched in his scenes by Charlotte Gainsbourg as the Sara Dylan figure; if anything, Richard Gere is ideally cast as "Billy The Kid"  but, apart from the undeniable flavor his scenes give the film, they're the most obscure in the whole scheme of things (I do like Roger Ebert's thesis, however, that what was intended here was an allegory about Dylan's perennial search for his true selfor something like that).Still, perhaps the film's biggest fault is that it's too often a bore  surely, Dylan's real life must have been a lot more compelling than what's depicted/imagined here.
From the pensive Jack (Christian Bale, 3:10 TO YUMA), to the brutally uncompromising Robbie (Heath Ledger, THE DARK KNIGHT), to the solemn Billy (Richard Gere, THE FLOCK), Dylan's music changed with his personae, and a barrage of his songs carry throughout the production.The big failing of I'm Not There, though, is it's pacing, it's unfocused time-line, and the inability of many watchers to understand where, how, and when we are.
The concept of the film is experimental, the execution of the 'documentary' is actually an amalgam of the aura and influence of one man in the music world instead of a linear history of a famous singer/poet, and the goal seems more to find the effect of Bob Dylan's chameleon persona on those people with whom he came into contact than it is to relate the story of a fascinating and important American artist.
The film is as strange as the man who inspired it, and Todd Haynes and his amazing cast of actors give us an impressive slice of our history as well as an appreciation of the aura of the strangely haunting Bob Dylan.
Telling the story in just over two hours with fragments from boy to old man Haynes uses five actors and one superb actress to play the great man in various guises throughout his multi-layered career Marcus Carl Franklin starts the film as the young Guthrie loving upstart with a head full of dreams and a case full of battered guitar, Christian Bale plays the fledgling protest Bob (and in a later segment the religious pastor) Ben Whishaw plays the French cigarette smoking beatnik poet, Heath Ledger is the seventies rebel, Cate Blancett steals the show as the sixties icon and Richard Gere completes the line up as the ageing outlaw, all in all it's a heady mix and survives because of excellent performances and direction.
I found it fragmented, did not get a lot of the apparent references (I guess you have to be a fan "in the know" about Dylan's life) and generally found it boring and pretentious.Despite Cate Blanchette and the little kid's excellent performances, I would not recommend this film..
Alas, despite its vision, the film eventually crumbles due to its length, artistic pretentiousness, and emptiness, although some of its acting and cinematography save it from being a complete failure.Cate Blanchett is easily the best actor of the group giving a stellar performance as the mid-60s Dylan - the artist as a young pop star, cynical, dissolute, and tripped-out, living in a Fellini's "8 & 1/2" reality (Haynes even uses Nino Rota's score at one point).
While the film has some of the great Dylan songs, some sung by Bob and some by stand-ins, there is nothing deeply felt here and Haynes fails to capture the passion and inspiration of his music.
Especially so when you have Cate Blanchett who got an Academy nomination for her role and I just wanted to fins out why, as well as the first pairing (well, not quite) of both Christian Bale and the late Heath Ledger on screen, though they never share the same frame.I only know enough to get by, that the different actors who get assigned to play Dylan related roles, be it through references of song, or characters through movies, make this movie seem quite all over the place, and therein lies the catch - how do you personify a living musical legend on the big screen, one who probably has so many facets to his life, that is near impossible for one actor to portray?
So I guess Todd Haynes built multiple personalities around the Dylan motif, and see how they went.For most of the movie, you can treat it like a short film, each with different actors at the helm of a Dylan-related character, holding court, with couple of recognizable celebrities making cameo appearances, and though what I thought was interesting, was that Bale had 2 segments given to him, one near the beginning where he gets to showcase his singing voice, and the other one right at the end.
Over-here, Six actors depict different facets of Dylan's popular life and public persona: Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger, and Ben Whishaw.