That 'character' Scorsese creates, according to what Charles Homans writes in a scrib for Screenlandia for The New York Times
He’s not a member of a generation; he’s a mirror.
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THE TRAILER uploaded to YouTube
Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese | Trailer | Netflix
LINK > https://www.youtube.com/watch?v=PS4gsWDSn68
Published on Jun 3, 2019
Views: 668,079
ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE captures the troubled spirit of America in 1975, and the joyous music that Bob Dylan performed that fall. Master filmmaker Martin Scorsese creates a one-of-a-kind movie experience: part documentary, part concert film, part fever dream. Featuring Joan Baez, Rubin "Hurricane" Carter, Sam Shepard, Allen Ginsberg, and Bob Dylan giving his first on-camera interview in over a decade. The film goes beyond mere reclamation of Dylan’s extraordinary music—it’s a roadmap into the wild country of artistic self-reinvention.
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Charles Homans is the politics editor at the New York Times Sunday Magazine.
"We know now that the real story wasn’t the people at the protests and the concerts; it was all the people who weren’t."
This lends a plaintive edge to his nostalgia, and to Scorsese’s.
After the film fades out on Tanner, a voice — it sounds like Scorsese himself — intones:
“Let America be America again. Let it be the dream it used to be.”
Charles Homans clearly states at the end of his own review that Scorsese's own film "Rolling Thunder Review . . . a bombastic plea to let the boomer legacy be the dream it used to be.
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John Kerry, that Zelig of the boomer political experience, used the first sentence as a slogan in his 2004 campaign. “It’s a statement about what’s broken,” a campaign staff member told The Times that June, “and that something’s broken — but it’s also a statement of hope and aspiration.”
stop right there to see the trailer:
Published on Jun 3, 2019
Views at time of upload to this blog: 668,079
"ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE" captures the troubled spirit of America in 1975, and the joyous music that Bob Dylan performed that fall. Master filmmaker Martin Scorsese creates a one-of-a-kind movie experience: part documentary, part concert film, part fever dream. Featuring Joan Baez, Rubin "Hurricane" Carter, Sam Shepard, Allen Ginsberg, and Bob Dylan giving his first on-camera interview in over a decade. The film goes beyond mere reclamation of Dylan’s extraordinary music—it’s a roadmap into the wild country of artistic self-reinvention.
Watch Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese on Netflix: https://www.netflix.com/title/80221016
SUBSCRIBE: http://bit.ly/29qBUt7
About Netflix:
Netflix is the world's leading internet entertainment service with over 148 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.
Watch Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese on Netflix: https://www.netflix.com/title/80221016
SUBSCRIBE: http://bit.ly/29qBUt7
About Netflix:
Netflix is the world's leading internet entertainment service with over 148 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.
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In Scorsese’s mouth, the words seem at once to refer to the actual Rolling Thunder Revue — an attempt to “rediscover America,” as Allen Ginsberg, who came along for the ride, described it — and to his own film, a bombastic plea to let the boomer legacy be the dream it used to be.
But “Let America Be America Again” is a dark and angry poem, an explicit critique of national nostalgia.
Hughes denounces the vast chasm between America’s promises and its reality for people of color, for immigrants, for the poor, answering the stanza that Kerry and Scorsese borrowed with a bitter parenthetical: “America never was America to me.”
He concludes the poem with a call to “make America again!”: an exhortation one word short of a Trump slogan but a world removed from it,
a call not to the sentimentality of the left or the right but for rebuilding the thing from the original blueprints, and better this time.
He is saying that the most comforting stories Americans tell themselves about themselves are the ones that never happened.
