"He saw it out in Hollywood at a dreadful screening. Afterward, he said: 'We’ll have another screening and I’ll write down all of the things we have to change.'"

"Of course, that made me a little gloomy. The next night, we assembled again and he sat in the front with this yellow pad. At the end of the film, he held up the pad and there was nothing on it. He said: 'That’s it.'"

"He" is Bob Dylan, the subject of the documentary film "Don't Look Back," by the great documentary filmmaker D.A. Pennebaker, who has died at the age of 94.

Here's the scene from "Don't Look Back" with Dylan and Donovan:



From Pennebaker's Wikipedia page:

In 1959, Pennebaker joined the equipment-sharing Filmakers' [sic] Co-op and co-founded Drew Associates with Richard Leacock and former LIFE magazine editor and correspondent Robert Drew. A crucial moment in the development of Direct Cinema, the collective produced documentary films for clients like ABC News... and Time-Life Broadcast.... Their first major film, Primary (1960), documented John F. Kennedy and Hubert Humphrey's respective campaigns in the 1960 Wisconsin Democratic Primary election. Drew, Leacock and Pennebaker, as well as photographers Albert Maysles, Terrence McCartney Filgate and Bill Knoll, all filmed the campaigning from dawn to midnight over the course of five days. Widely considered to be the first candid and comprehensive look at the day-by-day events of a Presidential race, it was the first film in which the sync sound camera could move freely with characters throughout a breaking story, a major technical achievement that laid the groundwork for modern-day documentary filmmaking....

In 1992, during the start of the Democratic primaries, Pennebaker and Hegedus approached campaign officials for Arkansas governor Bill Clinton about filming his presidential run. They were granted limited access to the candidate but allowed to focus on lead strategist James Carville and communications director George Stephanopoulos. The resulting work, The War Room, became one of their most celebrated films....

Pennebaker's films, usually shot with a hand-held camera, often eschew voice-over narration and interviews in favor of a "simple" portrayal of events typical of the direct cinema style Pennebaker helped popularize in the U.S. Of such an approach, Pennebaker told interviewer G. Roy Levin published in 1971 that "it's possible to go to a situation and simply film what you see there, what happens there, what goes on, and let everybody decide whether it tells them about any of these things. But you don't have to label them, you don't have to have the narration to instruct you so you can be sure and understand that it's good for you to learn." In that same interview with Levin, Pennebaker goes so far as to claim that Dont Look Back is "not a documentary at all by my standards". He instead repeatedly asserts that he does not make documentaries, but "records of moments", "half soap operas", and "semimusical reality things".

ADDED: Pennebaker's YouTube page is fantastic. I'll just give you this — Janis Joplin (from the film "Monterey Pop"):



AND: The trailer for "Jimi Plays Monterey" (released in 1986, showing a performance in 1967):



ALSO: A "Monterey Pop" outtake (that's on the Criterion Collection edition of the movie) — The Mamas and the Papas and lots of shots of people in the audience, looking very 1967:

"What remains enthralling, though, are Millett’s close readings, her exposés of the naked emperors of the literary left."

"'After receiving his servant’s congratulations on his dazzling performance, Rojack proceeds calmly to the next floor and throws his wife’s body out of the window,' is Millett’s deadpan description of the aftermath of the hero’s sodomization of a maid in Mailer’s An American Dream. Millett then observes, 'The reader is given to understand that by murdering one woman and buggering another, Rojack became a "man."'"

Writes Judith Shulevitz in "Kate Millett: ‘Sexual Politics’ & Family Values" (New York Review of Books):

For a glorious moment, this very bookish literary critic was the face of American feminism. The New York Times called her the “high priestess.” After “Prisoner of Sex” became the talk of the town—and the revered Harper’s editor Willie Morris was fired for publishing it—Mailer organized a riotous debate known as “Town Bloody Hall,” which was filmed by Chris Hegedus and D.A. Pennebaker and is now streamable. It was a circus, and it was Millett who set it in motion, even though she refused to show up. Mailer aimed a torrent of insults at the feminists who did agree to take the stage or appear in the audience, among them Greer, Diana Trilling, Susan Sontag, Betty Friedan, and Cynthia Ozick. They rolled their eyes and gave as good as they got—much better, in most cases—and the crowd roared with delight. Try to imagine a public clash of ideas being so joyously gladiatorial today.

Here it is:



ADDED: The word "bugger" (for anal sex) is rare these days. Did you know the word is related to "Bulgarian"? From the Online Etymology Dictionary:

bugger (n.) "sodomite," 1550s, earlier "heretic" (mid-14c.), from Medieval Latin Bulgarus "a Bulgarian" (see Bulgaria), so called from bigoted notions of the sex lives of Eastern Orthodox Christians or of the sect of heretics that was prominent there 11c. Compare Old French bougre "Bulgarian," also "heretic; sodomite."

bugger (v.) "to commit buggery with," 1590s, from bugger (n.)...

The earliest use of "bugger" to express "annoyance, hatred, dismissal, etc.," is, according to the OED, in the diary John Adams, in 1779: "Dr. W[inship] told me of Tuckers rough tarry Speech, about me at the Navy Board.—I did not say much to him at first, but damn and buger my Eyes, I found him after a while as sociable as any Marble-head man."

AND: Here's a William Safire column (from 1995) on the word "bugger," written after some Congressman said "We're here to nail the little bugger down" (and the "little bugger" was Bill Clinton). How disrespectful was it?

"I've never been in TIME Magazine. I don't need TIME Magazine."

An early rejection of mainstream media, from the movie "Don't Look Back" (which we watched again on New Year's Eve):



This is one of my favorite scenes in the great old documentary by D.A. Pennebaker. Bob Dylan is ranting — for the cameras? — and the TIME reporter looks like he walked into the room with his pencil in his hand, trying to understand but not knowing just what he will say when he gets home.

Does the film invite us to laugh at the reporter's cluelessness? I don't think it's that simple. Presumably, we're identifying with Dylan, the central character in the film we've chosen to watch, but gradually, and certainly by this point, we've been given cues to detach ourselves from our pop star hero. Do we think Dylan is being a jerk, mistreating the reporter? The reporter, whose bland doughiness makes a funny contrast to Dylan's intensity, might look as though he doesn't know what is happening here, but I got to thinking that the gears in that head were turning, and he was judging and gathering material. Who was that guy?

His name is Horace Freeland Judson, and he's no dummy. He worked for TIME for 7 years, but he is also — I'm relying on Wikipedia — a historian of molecular biology and a expert on the "deliberate manipulation of scientific data." He's been on the faculty of Johns Hopkins University, and he's won a MacArthur Fellowship. As for the film:

[H]e was subjected to what he believes to be a contrived tirade of abuse from Dylan. During Judson's interview, Dylan launched into a verbal attack on Time magazine, and Judson himself. The film's producer Pennebaker does not believe the tirade was planned, but notes that Dylan backed off, not wanting to come across as being too cruel. However, Judson believes the confrontation was contrived to make the sequence more entertaining. "That evening," says Judson, "I went to the concert. My opinion then and now was that the music was unpleasant, the lyrics inflated, and Dylan, a self-indulgent whining show off."

Here's a 2007 interview — in TIME Magazine, of all places — with Pennebaker:

Much of the film is devoted to Dylan tangling with the press. Why do you think he played so hard-to-get with reporters?

The poor souls, they were sent out to interview him and they didn't know much about him. He turned it into a circus. He was enjoying himself. But I never felt that he was being particularly mean in those interviews.

There's a scene, though, in which Dylan directs a lengthy recrimination of the media at TIME magazine correspondent Horace Judson. I have to be honest: I would have hated to be in Judson's shoes.

I have the story [Judson] wrote. He wrote a very good piece on Dylan. I thought Dylan was kind of nice in the end. He made jokes out of it. When I show the film, especially to kids, they want to see that as someone thrashing TIME. But it isn't that. He's thrashing a whole system of media that people had been thrashing for a long time. I never thought of it as mean-spirited.

A whole system of media that people had been thrashing for a long time... Ha ha. So much for my "early rejection of mainstream media"! People have been bitching about journalists forever, haven't they? And it's not as though Bob Dylan would have been kinder to bloggers if they'd been around and managed to infiltrate his entourage.

***

I'm following the TIME Magazine convention of writing "TIME" in all caps, which I haven't done in the past. I'm just for the first time noticing that's what TIME Magazine expects from me. Not that I need TIME Magazine, just that I'm noticing. And I'm wondering: Is in an acronym for something? "The [something with an "i"] Magazine Ever"?

UPDATE, May 10, 2011: The NYT obituary for Horace Freeland Judson.

Robert Drew's great documentary "Primary" -- about JFK and Hubert Humphrey in the Wisconsin Primary -- free, tonight, at Cinematheque.

New students, old residents, you should know about Cinematheque. Drop by tonight at Vilas Hall at 7:30 for this fine 60 minute film.

And make note of the rest of the films in the "Vote Cinema: American Politics on Film" series. There are various different series and special events this fall, including "Deviants, Delinquients, and Do-Gooders: Hollywood Social Problem Films of the 1950s."

Here's the whole fall calendar.

Cinematheque is one of the coolest things about UW-Madison. And again: It is free.

ADDED: Here is an interview with Albert Maysles (the cinematographer) about the part of the film where we see Jackie Kennedy's gloved, fidgeting hands:



And here's a long clip from [another] film that gives background on Richard Nixon. I love the charming retro "Stick with Dick" sign. And Richard Nixon, turning on the charm for Nikita Krushchev, just hilarious. Lots more too.

[Video previously displayed is no longer available.]

ADDED: Sorry, I misread the label on the second video clip, which popped up in YouTube. It has a completely different documentary style, but some great historical clips. If I remember "Primary" correctly -- I've seen it but have loaned out my DVD -- it's entirely about Kennedy and Humphrey in Wisconsin. Here's some background on the style of "Primary":

[C]inema verite -- choosing moments where action might occur instead of creating it -- ... was the brainchild of Robert Drew, an editor at Life magazine. He believed the magazine enjoyed its success because it brought into the home pictures of action in the midst of happening -- four soldiers struggling to plant the flag at Iwo Jima, for instance -- and he wanted to extend that concept to documentaries. "I thought all we had to do was put a Life photographer who valued candid photography behind a motion picture camera, and we could make a new kind of film." But thanks to an eight-man crew that had to stop and set heavy equipment on tripods, action eluded capture. Then Mr. Drew started to experiment with lightweight cameras and sound recorders. In 1959, under the banner of Drew Associates, he put together a film crew, all of whom went on to write their names on the pages of documentary history: Albert Maysles, Terence Filgate (a film maker well known in his native Canada), Richard Leacock ("Monterey Pop") and D. A. Pennebaker ("Don't Look Back," "The War Room"). The film makers set out in the dark: they were making documentaries with no directors, no scripts, no sets, no lights, little or no narration and no interviews. To be at the right place at the right moment was everything. They considered themselves neutral observers who merely recorded ongoing events and had, as much as possible, no point of view. Their first important work was "Primary," which tracked Senators John F. Kennedy and Hubert H. Humphrey through the cold 1960 Wisconsin Democratic Presidential primarily... Their approach, says Mr. Filgate, offered an alternative to the Edward R. Murrow style of documentaries. "It was as if we were butterfly hunting. We knew there were butterflies in the woods, but we didn't know what kind, and we didn't know how we were going to catch them; whereas in the journalistic documentary, a reporter says, 'On my left, hidden in the bushes, are thousands of butterflies.' And then the camera cuts away to the bushes. Drew, with 'Primary,' broke that mold."

"I love how I’m going to get blamed for a vid clip circulated by the nutroots."

Says Michelle Malkin. I wish I'd been on this story earlier, because I've watched the documentary "The War Room" many times. It's a favorite DVD in my family, and we've watched it together and talked about it many times. Ben Smith talked to the director D.A. Pennebaker about what looks like a dirty trick, but then he updates that he "spoke to the editor of the video who said that he enhanced, but didn't alter, the audio in the second portion of the video." So the mystery is alive. But how much do we care what Mickey Kantor muttered 16 years ago?

Whatever you think of all that, you can buy "The War Room" on Amazon for $11. You can make a great triple feature if you add "Primary" (about JFK and Hubert Humphrey fighting it out in Wisconsin in 1960) and "Journeys with George" (Nancy Pelosi's daughter Alexandra films the travails of the journalists who follow the Bush campaign in 2000). But "The War Room" is the best of them all. Or take a different path and make it a cool double feature with "Don't Look Back," Pennebaker's great documentary about Bob Dylan — 1965 Bob Dylan.