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It Ain’t He, Babe
Heath Ledger
as Robbie in
I’m Not There
THIS CHRISTMAS PG13
1:15, 4:10, 7:05, 10:00
THE GOLDEN
COMPASS PG13
11:35, 12:35, 1:35, 2:35, 3:35,
4:35, 5;35, 6:35, 7:35, 8:35,
9:35, 10:35
AWAKE R
12:55, 3:15, 5:40, 7:55, 10:15
ENCHANTED PG
11:25, 12:40, 1:30, 2:10, 3:20,
4:15, 4:55, 6:15, 7:00, 7:45,
9:00, 9:50, 10:30
HITMAN R
2:20, 5:05, 7:50, 10:35
AUGUST RUSH PG
2:00, 4:45, 7:50, 10:25
NO COUNTRY FOR OLD
MEN R
1:45, 4:40, 7:40, 10:40
THE MIST R
12:30, 3:25, 7:10, 10:15
BEOWULF PG13
11:15, 2:05, 4:50, 7:45, 10:30
MR MAGORIUM’S
WONDER EMPORIUM G
12:00, 2:25, 5:00, 7:30, 10:00
FRED CLAUS PG
12:45, 3:40
BELLA PG13
7:35, 10:05
BEE MOVIE PG
11:30, 1:55, 4:25, 7:00, 9:35
AMERICAN GANGSTER
R
11:55, 3:30, 7:10, 10:40
Think more than twice about Dylan pic
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I’M NOT THERE: Directed by Todd Haynes.
Written by Haynes and Oren Moverman.
Cinematography, Edward Lachman. Music su-
pervisors, Randall Poster and Jim Dunbar.
Starring Cate Blanchett, Heath Ledger, Christian
Bale, Richard Gere, Marcus Carl Franklin, Ben
Whishaw and Charlotte Gainsbourg. The
Weinstein Company, 2007. R. 135 min.
44441
T
here are more potential ways to re-
view Todd Haynes’ I’m Not There
than there are, within the film, ver-
sions of a character rather like Bob Dylan. In
the amount of space allotted to a review, I
could focus solely on the acting, the casting,
the details, the homages, the styles, the peo-
ple and things seen in passing that it would
take multiple viewings to catch. With each
viewing, a different revew might emerge; this
is not a film that encourages one hard, defini-
tive take, though some look for it anyway. It’s
an adventure and an idea, a conceptual mon-
tage of life, fiction, themes and music. Dylan,
and the many characters Haynes and cowriter
Oren Moverman find in his life and songs,
provides a base for a series of visions that get
inside your head slowly and surely. The sur-
face-level ideas about identity and mythol-
ogy knot themselves together with Dylan’s
songs (often, in the film, performed by oth-
ers) until you find, later, that Haynes has
worked a little trick: Listening to the Dylan
albums that seem most analogous to the
film’s inhabitants, you’re back in the film, the
actors’ faces in your mind.
The film follows six characters: a young
boy, Woody (Marcus Carl Franklin), jumping
trains in the 1950s and acting like he lives
decades earlier; a sly poet, Arthur (Ben
Whishaw), on trial (in a way) and narrating
the film (in another way); a protest singer of
the ’60s, Jack (Christian Bale, surprisingly
out of his element) who later turns preacher;
an actor, Robbie (Heath Ledger, bearing the
lonely ghost of Ennis Del Mar), who strikes it
big playing Jack in a film; an outlaw, Billy
(Richard Gere), who lives in a metaphor in
the guise of a town; and, in the piece that
draws the straightest line from the real Dylan
to its subject, skinny, fidgety Jude (Cate
Blanchett), contrary and high. (At times, the
fun of detail is too much to resist, and I found
myself in awe of the familiarity of
Blanchett’s mannerisms, Robbie’s bearing,
Arthur’s speech patterns, Haynes’ remakes of
scenes from Don’t Look Back; these mental
snags all seem purposeful, as Haynes toys
with expectations and specifics and the con-
text of his stars playing another kind of star.)
None of these characters is Bob Dylan; all
of these characters are Bob Dylan. What
Haynes is concerned with is a complex com-
bination of identity and mythology, and the
places the two intersect and separate. Each
slim slice of his film theorizes about a Dylan
that was or a Dylan that might have been, and
each character builds a new mythology
around and about an era in Dylan’s life. The
myths shift, change, take on meanings of
their own; what matters is less how they
started than where they wound up. Billy gets
the short end of this undeniably creative
stick; his folklore-steeped Missouri town,
where it’s always Halloween, tumbles into
the absurd, becoming Deadwood by way of a
dreaming Tim Burton, and the best thing to
come out of that segment is a music-video-
like scene of Jim James crooning “Goin’ to
Acapulco” in his otherworldly voice at a fu-
neral. Woody and Jack also have less than
satisfying storylines, though it’s awkward to
call them that, for Haynes isn’t often focused
on narrative. Too much narrative would ob-
scure the point; the point is in the ideas.
Haynes takes the chameleonic existence of
Dylan and shatters it into individual lives,
which then only have the narrative push a sin-
gle life, seen in a handful of scenes, carries.
Robbie’s story is the most domestic, the most
involved with other people, and there’s com-
fort in its structure and emotional weight.
Jude’s scenes are the most recognizable, and
thus they have a different sort of resonance.
But despite the differences, these people, their
stories, all boil down to the possibilities of
reinvention, of mythologizing a figure or that
figure mythologizing itself (a fantastic scene
involves Jude and Allen Ginsberg, as played
by David Cross, shouting at a towering statue
of Jesus on the cross). We’re all different peo-
ple, but we aren’t all different people in the
public eye, shifting and changing, building a
tower of others’ observations and implications
and presumptions. I’m Not There couldn’t
have been about anyone else; it’s also not
about anyone at all.
ew
I’m Not There ends Thursday, Dec. 6 at VRC Stadium 15.
FEEL THE NOISE PG13
[12:35] 2:45, 4:55, 7:05, 9:25
FEAST OF LOVE R
[12:10] 2:50, 5:15, 7:45, 10:25
SUPERBAD R
[12:45] 4:45, 7:40, 10:20
MARTIAN CHILD PG
[1:05] 4:25, 7:35, 10:30
3:10 TO YUMA R
[1:00] 4:00, 7:15, 9:55
UNDERDOG PG
[12:20] 2:30, 4:40, 6:55, 9:30
STARDUST PG13
[12:55] 4:10, 7:20, 10:10
HARRY POTTER AND
THE ORDER OF THE
PHOENIX PG13
[12:50], 3:55, 7:00, 10:05
THE BOURNE ULTIMA-
TUM PG13
[12:30] 4:15, 7:25, 10:15
RATATOUILLE G
[12:40] 4:30, 7:10, 9:50
GOOD LUCK CHUCK R
[12:15] 2:35, 5:00, 7:50, 10:35
DRAGON WARS PG13
[12:25] 2:40, 4:50, 7:30, 9:45
[ ] FRIDAY THRU SUNDAY ONLY
5
85' $< 681 '$<
5L^
7YPU[
/DE\ULQWK
IULVDW VXQ
6$70$7
COOL GETS HOT:
Climate Change
and Oregon Wine
Harry Peterson- Nedry
Managing Partner, Chehalem Wines
Adv. Tix on Sale I AM LEGEND (PG-13) ★
Adv. Tix on Sale NATIONAL TREASURE: BOOK OF
SECRETS (PG) ★
Adv. Tix on Sale HANNAH MONTANA CONCERT 3D (NR) ★
THE GOLDEN COMPASS (PG-13) ★ (1100 1130 145 215 430 500)
715 745 1000 1030
AWAKE (R) - ID REQ'D
(1155 230 445) 725 940
ENCHANTED (PG)
(1105 1145 140 225 425 505) 710 740 950
1020
HITMAN (R) - ID REQ'D
(1200 235 510) 730 1010
AUGUST RUSH (PG)
(1110 200 450) 735 1025
NO COUNTRY FOR OLD MEN (R) - ID REQ'D(1215 415) 720 1015
BEOWULF DIGITAL 3D - $2.50 FEE FOR 3D (PG-13) (1125 210
455) 750 1035
MR. MAGORIUM'S WONDER EMPORIUM (G) (1115 155 420) 645
925
FRED CLAUS (PG)
(1210 405) 655 945
AMERICAN GANGSTER (R) - ID REQ'D
(1135 300) 635 1005
BEE MOVIE (PG)
(1150 220 440) 700 930
DAN IN REAL LIFE (PG-13)
(1120 205 435) 705 935
ACROSS THE UNIVERSE (PG-13)
(1205 345) 650 955
Adv. Tix on Sale I AM LEGEND (PG-13) ★
Adv. Tix on Sale NATIONAL TREASURE: BOOK OF
SECRETS (PG) ★
THE GOLDEN COMPASS (PG-13) ★
(1100 140 425) 710 955
HITMAN (R) - ID REQ'D
(1225 240 510) 740 1000
THE MIST (R) - ID REQ'D
(100 350) 640 930
ENCHANTED (PG)
(1100 135 415) 650 925
BEOWULF (PG-13)
(1145 220 455) 730 1005
MR. MAGORIUM'S WONDER EMPORIUM (G) (1220 230 500) 720
935
FRED CLAUS (PG)
(1110 145 420) 700 940
Adv. Tix on Sale NATIONAL TREASURE: BOOK OF
SECRETS (PG) ★
I'M NOT THERE (R) - ID REQ'D
Fri. (330) 640 930
Sat. & Sun. (1140 330) 640 930
MR. MAGORIUM'S WONDER EMPORIUM (G) Fri. (200 440) 730
1010
Sat. & Sun. (1120 200 440) 730 1010
NO COUNTRY FOR OLD MEN (R) - ID REQ'D Fri. (130 410) 700
940
Sat. & Sun. (1050 130 410) 700 940
FRED CLAUS (PG)
Fri. (140) 710
Sat. & Sun. (1100 140) 710
BELLA (PG-13)
(420) 950
Times For 12/7 - 12/9
©2007
FRIDAY, DEC. 7 TH • 11:50 AM
EUGENE HILTON
$3 admission • Free to City Club Members
485-7433
www.cityclubofeugene.org
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DECEMBER 6, 2007 39