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Shock Corridor Cinema: Bob Dylan's Renaldo & Clara. Thursday, April 24th, 8:30 pm @the fifty fifty arts collective.
| Message Board > Up n' Coming! (aka Shameless Promotion) > Shock Corridor Cinema: Bob Dylan's Renaldo & Clara. Thursday, April 24th, 8:30 pm @the fifty fifty arts collective. |
| film programer | Shock Corridor Cinema presents a continuing series in rare film: Bob Dylan's Renaldo & Clara (1977) staring Bob Dylan, Allen Ginsberg, Joan Baez, Sam Shepard, Ronnie Hawkins Harry Dean Stanton, Jack Elliot and Sarah Dylan @ the fifty fifty arts collective. 416 Craigflower (across from Bamfield Park) Thursday April 24th, 8:30pm $2 383-5144 ext:1882 Shot during Dylan's Rolling Thunder Revue Tour during the fall of 1975 (see the recently released bootleg series, vol.5 recording), Renaldo & Clara marks Dylan's debut and subsequent retirement as filmmaker. The film blends intimate concert footage with play acting by tour participants, scrambled into an elusive narrative that can only be described as Nashville on acid. While difficult to follow (a breakdown of the film's thematic stream will be provided at the venue) the narrative strands attempt to upset rumours that were circulating at the time regarding Dylan's illegitimate affair with Joan Baez, supposedly resulting in Dylan's breakup with his wife Sarah. An additional project here - one dylan has explored throughout his career - is the subversion of his popular image, achieved by inserting Ronnie Hawkins as the "actor" who plays Dylan (a strategy soon to be explored by Todd Haynes in his upcoming bio-film of Dylan). Beyond this "trickery" there are some fabulous scenes that reveal actual moments from the tour: Dylan visits the jail cell of accused murderer and heavyweight champion Reuben "Hurricane" Carter, a suspect Dylan adamantly defended throughout the 70s; Allen Ginsberg performs an extended reading of his opus "kaddish" to elderly participants of a Mahjong convention; Dylan and Ginsberg visit the grave site of Jack Kerouac in Mass. When this film originally debuted, it was attacked by critics and was swiftly pulled from distribution, relegated to obscurity. Still, Dylan fans and collectors of strange cinema continue to hunt down copies on the internet and other trading outlets. this is a rare opportunity to see a quality copy of this film on the big screen. Please note: Renaldo & Clara has a rather long running time and given its elusive narrative, can be viewed from any point in the film - do not hesitate to come late to this screening. - Mon, 21 Apr 2003 2:30pm | ||
| Anonymous | how late is late? - Tue, 22 Apr 2003 3:07am | ||
| Hellllloooooo? | - - Tue, 22 Apr 2003 3:40pm | ||
| film programer | the film will probably run until 12:30am. the non-linear nature of the film guarantees you will not be lost if you come into it halfway through. - Tue, 22 Apr 2003 8:30pm | ||
| PTL Club | Thank god it's non-Linear. You ever see that band? Holy crap, talk about a lame Cameo rip-off band! Not that Cameo was a great band or anything, but they had a coupla tunes that made it onto MTV. Talking out the side of my neck, I think. Fuck, I dunno, maybe I'm dreaming it all. - Wed, 23 Apr 2003 8:23pm | ||
| Anonymous | didn't non-linear play lollapalooza in '94? - Thu, 24 Apr 2003 1:56am | ||
| PTL Club | NO WAY!!!!!!!!!!!!!!! Ah hahahhahah hahah ha. - Thu, 24 Apr 2003 11:45am | ||
| Holmes User Info... | I have heard that this film is quite long. Is that true? H - Thu, 24 Apr 2003 2:50pm | ||
| film geek | Shock Corridor Cinema � Program Notes Shot during Bob Dylan's ambitious Rolling Thunder Revue Tour during the fall of 1975, Renaldo & Clara marks Dylan's debut, and subsequent retirement as filmmaker. The film blends intimate concert footage with play-acting by tour participants, scrambled into a lucid narrative that can be described as Robert Altman�s Nashville on acid. While difficult to grasp any coherent logic from the narrative (see Stephen Scobie�s thematic synopsis on the following pages) R&C�s episodic strands attempt to embellish fabricated media rumours that were circulating at the time regarding Dylan's �illegitimate� affair with Joan Baez, supposedly resulting in Dylan's breakup with wife, Sarah. Many who have taken the time to deconstruct the film�s boggling structure conclude that the film�s central theme conveys issues regarding Dylan�s relationship with women. This concern is couched in a love triangle that plays out in various incarnations between the singer, Joan Baez and Dylan�s former wife, Sarah. With respect to the convoluted structure of the film there also appears to be a larger project at work here. Ever since Dylan was embraced by the mainstream in the mid 60s he has cleverly subverted his popular image. This can take the form of confrontational interviews, of which Dylan makes the media the subject, often posing provoking questions to make a �spectacle� out of the messenger and the politics of the mass media. (see D.A. Pennebaker�s film, Don�t Look Back). Dylan�s recording career additionally plays with image, at times bordering on postmodern pastiche. Every album appears to have the markings of a different Dylan, albeit with traces of a past that can not clearly be located. Moreover, throughout the 70s and 80s, Dylan�s vocal intonations, musical genres and band members radically shift with each recording. The narrative strategies of R&C may be an extension of this playful resistance to easy identifications. While Dylan has stated that the film attempts to stop time (or at the very least, upset the temporal relations of traditional narrative structures) one might argue that the film�s non-sequential cause and effect narrative subverts any comfortable association we may have with Dylan as icon. The elusive trajectory of the film and its use of an �actor� (Ronnie Hawkins) who plays Dylan throughout, work, in part, to upset traditional viewer identification with the �protagonist�. It is here that Dylan appears to be playing with audience expectations, shifting perspectives and identifications we may have with Dylan as �pop star�. It is interesting to note that this strategy comes at a time when fans were no doubt at the peak of uncertainty regarding his personal life. Yet in spite of the film�s experimental formal structure there are some intimate �documents� to be viewed here; some of which provide great insight into Dylan�s politics during the mid 70s and the rock and roll lifestyle pursued by those who assume friendships with pop stars. This film has, since its initial release, remained in obscurity due in part to a vehement reaction from critics who lambasted the film�s � illogical structure.� Perhaps the way to view R&C is to consider Dylan as social construct while maintaining a mindful detachment from conventional narrative forms in an effort to comprehend Dylan outside of mainstream representations. - Thu, 24 Apr 2003 3:30pm | ||
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