"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
1965年纽波特民俗节上的“鲍勃·迪伦触电”是摇滚史上的划时代时刻之一，似乎每个人都听说过，但似乎很少有人知道，这并不是我们只通过口耳相传才知道的短暂事件——电影制作人穆雷·勒纳（Murray Lerner）连续几年记录了纽波特音乐节上的表演，《镜子的另一面》（The Other Side of The Mirror）收集了迪伦三年来出现在著名的民间集会上的片段，让我们亲眼目睹了迪伦在民间的崛起。观看勒纳的纪录片，最引人注目的是迪伦在36个月的时间里发生了多大变化；1963年，在琼·贝兹（Joan Baez）身边的下午“工作坊”上，这位年轻的民谣歌手正在表演，他既紧张又犹豫，一边唱着冗长的曲子，一边挥舞着他的原声吉他，激励着人群，似乎不知道他在做什么。1964年，迪伦几乎拥有纽波特，他清楚地知道这一点；他是音乐节的谈资，贝兹和约翰尼·卡什（Johnny Cash）唱起了他的赞歌（和他的歌曲），他对舞台的要求明显更强烈、更自信，而他的新材料（包括《塔姆伯恩先生》（Mr.Tambourine Man）和《这不是我，宝贝》（It Ain Me，Babe））让他远离了最初成名的“抗议歌曲”。当观众要求在迪伦的晚会结束后再表演一次时（奥黛塔和戴夫·范·朗克原定跟随他），彼得·亚罗（Peter Yarrow）试图让节目继续下去，而迪伦则像他很快成为的摇滚明星一样，在观众的吹捧下发出光芒。1965年纽波特音乐节开始时，迪伦划时代的《像滚石一样》（Like a Rolling Stone）开始登上单曲排行榜，铁杆民间观众显然对他的流行（和民粹主义）成功持两种看法。当戴着芬德·斯特拉托卡斯特（Fender Stratocaster）的迪伦（Dylan）在阿尔·库珀（Al Kooper）、迈克·布卢姆菲尔德（Mike Bloomfield）和保罗·巴特菲尔德蓝调乐队（Paul Butterfield Blues Band）的节奏部分的支持下表演《玛吉的农场》（Maggie’s Farm）时，这个喧闹但又很难驾驭的数字激发了一种充满激情的欢呼和同样强烈的嘘声的奇怪混合，尽管鼓手山姆·雷（Sam Lay）很难找到节奏，但这首歌还是很好听，不过如果说有什么区别的话，那之后观众的忠诚度就更加强烈了。在这两个数字之后，迪伦和他的乐队离开了舞台，雅罗（再次担任司仪）引用了技术问题（如果皮特·西格真的像传说中那样给迪伦施加了压力，这里就没有任何迹象）；迪伦带着六弦琴回到舞台，演唱了《铃鼓先生》和《现在一切都结束了，蓝宝宝》，然后消失在夜色中。虽然1965年纽波特的许多观众都希望“老”迪伦回归，但他即使在声学方面也表现得很强、很任性，很明显，我们在电影开始时看到的那种好斗的半业余爱好者已经一去不复返了，掌声表明，不止几个人想看迪伦摇滚。勒纳的电影告诉了我们一些我们已经知道的东西，但它温和地揭穿了迪伦在这个职业生涯关键时刻的一些神话，他的表演自始至终都是坚定有力的；无论你读过多少次1965年迪伦在纽波特拍摄的电影，看到这是一次启示性的经历，勒纳用智慧和品味收集了这些档案材料。这是对迪伦或60年代的民间场景感兴趣的人必看的节目。
《镜子的另一面：纽波特民歌艺术节1963~1965》是一部“剧情片”类型的电影，该片/剧目前在本站共有 16 条播放线路，由 8 家资源方提供。喜欢全年影视请分享给身边的亲人和朋友，全年影视包揽你一整年的视听盛宴！
