镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65
简介: 【镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65】 "Bob Dyla%* .@n going ,ele?ctri*^_?c" at the 1965 Newp[]ort Folk/^ Festiv]a$;=l is .on; e of those e$po-%chal @-)_moment+ `s in r,)+,ock hi(_story ! th-at%_@ seeming^l*y ev^#,er` -yone :]has hea rd abo !ut, but what, fe[ w people ]s .[eem t ,#o know is t?hat it !wasn't so[;me ephemeral eve._nt tha\ t we on,,ly $ know fr om word of mou t!?#h -- filmmaker Murr a;?)+$y Lerner doc umented the performan$#/ces at t!he New:^p/;._or#$t F *estival for se\@[veral years running, and The ,` O `th er Side of the !%)Mirror coll?:e$cts ,foot age from the thre`$ e y?ears ;:_Dylan a:,ppeared at the celebrated f.$olk g#,athering ], al `lowing us to see D/%yl--a@. n's rise th )*_r ough the folk s;cene for ourselve%%` *s. !/ W[$\atching Le!_ rner's documenta .ry, what&#(]3 \) 9=`s most remarka ble is how much .- Dylan [,changed o !_ver the c?o!+ urse +/o: f 36 months the @ you ng .f olkie perform\!$^ ing at the afterno @-on "wor* #?ksh: #op&q!=uo[t at ,th @e* side of Jo an Baez ?i _n 19.` 63 [is at once ne ^rv%/\y and hesitant,. singin ;+g # his w\+ordy /-tu+nes w .% hile ch_-\;o)ppin@g aw ay at his acoustic:!` guitar ,$an\d energi:*zi[!ng (^ the cro$ w+=?d without seemin,% g t/o k]+%];now just +@what h` e's doing_$.=@-` In 1,/964, Dylan all but /owns (_Newport, a+\nd he clearly know]^=s it # he 9s ]th:e talk of t(he Fe*+ #stival, wit.h`/= Baez and J)^ohnny Cash singing $his praises (@and hi=s son*,g[s), and; h ;is command`, of= the stage\$ is vi ,+sibly stronge#[?\$r a ?nd mo/` re_ confiden- t while his n * ew m].a?]+/terial (incl ^ udi?#ng $"Mr. T !ambour\in-`?e ;Man" and &q^uo*tIt Ain'` t Me: !;, Bab e& _quot) sees him * mo .ving a? way from,%\/ th+e &qu;otprotest so ngs" that first made,] his na]me. When the audience deman)ds an enco \?!re ;`after ^=Dy,!!lan!)?'s [ eveni ?ng se`;_t (Odetta `*and Dave )Van Ro, nk were schedule+: d to fo )$llow )!h-?im),@;_ Peter Y! *arr-[ow tr-[ies to keep the s( ho,]w .(; movin #?g \along @,while Dylan beams at the( crowd's/ $ adul;@##ati%%on, like the rock star he/ /; \(was !quickly(] bec ,oming* . By`@ the time the=? #1965 N ewport^^ Festival roll]?ed around, Dylan('s e pochal "Like a Rolling Stone" was ],starting to +/ `sca (le the _,#singles c har:`ts,[% and th$@*$e hardcore folk audience w_*as clearly o!*f two mi![% nds -abo;+.!ut his pop,ular (+an@^]d p-#opulist) s; ucc`ess. % When Dyl.an, Fend-er Stratocaster in hand, perform-s! &q^,_uotMaggie/ !'s Farm&quo+$t ba*cked by Al Kooper, Mike -Bloom,fi=\el*d [, and the ?rhyth# `m s:ec(tion f=?*rom the Pau;*.l $_B utterf-$ield Blues /,.B and, the ra :@ucous%% bu;t ) ha/$;]r;*- d-%-driving number inspi [res a curious mixture]# of enthusiastic cheer!\$i-?+]!ng and eq@@ /ually empha_tic ] booing, and while l +\ ege$.- nd h\as it ^tha-!+?t the ver \si$ o[^n ^ of)! "Like a^.. Rollin=.g Stone" * that follo/ wed .[w, as a _ (]shamble/[s, the so %n!g coo?%ks desp ite dru! :mmer Sam Lay& @#/ = !39s diff^icult# y in_ finding the groove, though if %a-.nything the divi`sion*!# of%! t,he crow.# *d's loyalti es is; even -stronger afterward_. After thes(+ e;/ = two )- numbe:`?rs, Dyl=`an and his ban+.d le -:^ave the sta\\ ge,!, with Yar ro :]w (once again serving a[*s @!$^ MC) c!it($\i %)ng (-technical/@!_ problem$.s (if Pete Seeg;-er re,;ally pulled the pow +er on Dylan, a $s -legend : =(=has i/t, _),there's n.*o sign o] ^f it + here-_) Dyla %$n r\e @turns to the stag=e:+ = with an acoustic six- ,#string to sing "M=:r. $ Tambourine Man& quo@t a nd &q[(uotIt's All =Ov:=er Now, Bab+\y ^ Blue&(,[q^uot before v_;anishing into t@]he n -ight with_( =out comment. While much%\\ + ];of ?[the audience at Newport in 1]965) wanted \the "old&\quot Dylan$@ back, his?^ str: =,ong, willful% performances eve/[n on _^the aco*u stic stuf(#f make-*#+s it obvious that the sc/ -rappy )%semi-ama t]eur we saw a t the b@ eginni=( ng of the movie was g one foreve\=r, an]?d the ] ovations sugg/$est mo:r =/,e th *?an^ a f%ew peo/\`ple[ % w@ :ant `ed to see Dyla^/-n rock. Le+]rne: r &=#39s film tells us =\a certain amount: of what we already knows /, bu/];t it : gently de]!bunk_@;s a f%ew myths a\[?bout Dy+_ _lan,*- dur=i `ng this [(pivotal_ . moment] in his care= e(r, , ?and his performance^s ar e c ommi tt -;ed and \`(forceful thr\! ougho$@ ut no matter how%,+ many^: # time s you've re $ad ab`_ out Dylan'.] s ::Newport\!@ shoot.[*. -?`\out of , 1965, seeing it *=*is^- ; a re!v\elato^[ry ex*perien)ce, and Lerne%_ r has ass em_bled $*@th*!is #archiv (,al ,] material )with intell:igence^ and taste. This is must-see vi]ewing for a nyo,:ne in^-?^terested i*.+] n Dylan +^(;or the + folk sc:] ene of the ླྀs.
剧情简介
【镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65】 "Bob Dyla%* .@n going ,ele?ctri*^_?c" at the 1965 Newp[]ort Folk/^ Festiv]a$;=l is .on; e of those e$po-%chal @-)_moment+ `s in r,)+,ock hi(_story ! th-at%_@ seeming^l*y ev^#,er` -yone :]has hea rd abo !ut, but what, fe[ w people ]s .[eem t ,#o know is t?hat it !wasn't so[;me ephemeral eve._nt tha\ t we on,,ly $ know fr om word of mou t!?#h -- filmmaker Murr a;?)+$y Lerner doc umented the performan$#/ces at t!he New:^p/;._or#$t F *estival for se\@[veral years running, and The ,` O `th er Side of the !%)Mirror coll?:e$cts ,foot age from the thre`$ e y?ears ;:_Dylan a:,ppeared at the celebrated f.$olk g#,athering ], al `lowing us to see D/%yl--a@. n's rise th )*_r ough the folk s;cene for ourselve%%` *s. !/ W[$\atching Le!_ rner's documenta .ry, what&#(]3 \) 9=`s most remarka ble is how much .- Dylan [,changed o !_ver the c?o!+ urse +/o: f 36 months the @ you ng .f olkie perform\!$^ ing at the afterno @-on "wor* #?ksh: #op&q!=uo[t at ,th @e* side of Jo an Baez ?i _n 19.` 63 [is at once ne ^rv%/\y and hesitant,. singin ;+g # his w\+ordy /-tu+nes w .% hile ch_-\;o)ppin@g aw ay at his acoustic:!` guitar ,$an\d energi:*zi[!ng (^ the cro$ w+=?d without seemin,% g t/o k]+%];now just +@what h` e's doing_$.=@-` In 1,/964, Dylan all but /owns (_Newport, a+\nd he clearly know]^=s it # he 9s ]th:e talk of t(he Fe*+ #stival, wit.h`/= Baez and J)^ohnny Cash singing $his praises (@and hi=s son*,g[s), and; h ;is command`, of= the stage\$ is vi ,+sibly stronge#[?\$r a ?nd mo/` re_ confiden- t while his n * ew m].a?]+/terial (incl ^ udi?#ng $"Mr. T !ambour\in-`?e ;Man" and &q^uo*tIt Ain'` t Me: !;, Bab e& _quot) sees him * mo .ving a? way from,%\/ th+e &qu;otprotest so ngs" that first made,] his na]me. When the audience deman)ds an enco \?!re ;`after ^=Dy,!!lan!)?'s [ eveni ?ng se`;_t (Odetta `*and Dave )Van Ro, nk were schedule+: d to fo )$llow )!h-?im),@;_ Peter Y! *arr-[ow tr-[ies to keep the s( ho,]w .(; movin #?g \along @,while Dylan beams at the( crowd's/ $ adul;@##ati%%on, like the rock star he/ /; \(was !quickly(] bec ,oming* . By`@ the time the=? #1965 N ewport^^ Festival roll]?ed around, Dylan('s e pochal "Like a Rolling Stone" was ],starting to +/ `sca (le the _,#singles c har:`ts,[% and th$@*$e hardcore folk audience w_*as clearly o!*f two mi![% nds -abo;+.!ut his pop,ular (+an@^]d p-#opulist) s; ucc`ess. % When Dyl.an, Fend-er Stratocaster in hand, perform-s! &q^,_uotMaggie/ !'s Farm&quo+$t ba*cked by Al Kooper, Mike -Bloom,fi=\el*d [, and the ?rhyth# `m s:ec(tion f=?*rom the Pau;*.l $_B utterf-$ield Blues /,.B and, the ra :@ucous%% bu;t ) ha/$;]r;*- d-%-driving number inspi [res a curious mixture]# of enthusiastic cheer!\$i-?+]!ng and eq@@ /ually empha_tic ] booing, and while l +\ ege$.- nd h\as it ^tha-!+?t the ver \si$ o[^n ^ of)! "Like a^.. Rollin=.g Stone" * that follo/ wed .[w, as a _ (]shamble/[s, the so %n!g coo?%ks desp ite dru! :mmer Sam Lay& @#/ = !39s diff^icult# y in_ finding the groove, though if %a-.nything the divi`sion*!# of%! t,he crow.# *d's loyalti es is; even -stronger afterward_. After thes(+ e;/ = two )- numbe:`?rs, Dyl=`an and his ban+.d le -:^ave the sta\\ ge,!, with Yar ro :]w (once again serving a[*s @!$^ MC) c!it($\i %)ng (-technical/@!_ problem$.s (if Pete Seeg;-er re,;ally pulled the pow +er on Dylan, a $s -legend : =(=has i/t, _),there's n.*o sign o] ^f it + here-_) Dyla %$n r\e @turns to the stag=e:+ = with an acoustic six- ,#string to sing "M=:r. $ Tambourine Man& quo@t a nd &q[(uotIt's All =Ov:=er Now, Bab+\y ^ Blue&(,[q^uot before v_;anishing into t@]he n -ight with_( =out comment. While much%\\ + ];of ?[the audience at Newport in 1]965) wanted \the "old&\quot Dylan$@ back, his?^ str: =,ong, willful% performances eve/[n on _^the aco*u stic stuf(#f make-*#+s it obvious that the sc/ -rappy )%semi-ama t]eur we saw a t the b@ eginni=( ng of the movie was g one foreve\=r, an]?d the ] ovations sugg/$est mo:r =/,e th *?an^ a f%ew peo/\`ple[ % w@ :ant `ed to see Dyla^/-n rock. Le+]rne: r &=#39s film tells us =\a certain amount: of what we already knows /, bu/];t it : gently de]!bunk_@;s a f%ew myths a\[?bout Dy+_ _lan,*- dur=i `ng this [(pivotal_ . moment] in his care= e(r, , ?and his performance^s ar e c ommi tt -;ed and \`(forceful thr\! ougho$@ ut no matter how%,+ many^: # time s you've re $ad ab`_ out Dylan'.] s ::Newport\!@ shoot.[*. -?`\out of , 1965, seeing it *=*is^- ; a re!v\elato^[ry ex*perien)ce, and Lerne%_ r has ass em_bled $*@th*!is #archiv (,al ,] material )with intell:igence^ and taste. This is must-see vi]ewing for a nyo,:ne in^-?^terested i*.+] n Dylan +^(;or the + folk sc:] ene of the ླྀs.
《镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65》是Murray Lerner于年创作的一部经典欧美综艺作品， 由Bob Dylan,Joan Baez,Judy Collins等主演，在美国播出后引发了不少观众的讨论和好评。 影片通过 "Bob Dyla%* .@n going ,ele?ct…， 展现了创作者对于现实生活与情感世界的观察，因此常被不少观众称为“值得二刷、三刷”的欧美综艺。
很多影迷之所以推荐《镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65》， 是因为片中无论是故事线的推进，还是演员之间的对手戏，都有着比较强的张力和代入感。 当你跟随剧情慢慢深入时，会发现每个角色的选择背后都有其不得不如此的原因， 这也让整部作品在娱乐性之外，多了一层对现实与人性的思考空间。
从类型角度来看，《镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65》既保留了欧美综艺应有的节奏和看点， 又在细节上做了不少打磨：节奏方面尽量避免无意义的拖沓桥段，人物塑造上也不简单脸谱化， 而是通过多场戏份逐步丰富角色背景，让观众在追看的过程中逐渐理解他们的选择与矛盾， 从而对这部作品产生更深层次的情感共鸣。
如果你正在寻找一部既有故事性，又具备一定思考深度的欧美综艺， 那么《镜子的另一面：纽 波特民歌艺术节1963~1\%9! 65》会是一个不错的选择。 无论是想在闲暇时间放松心情，还是希望通过剧情获得一些情绪上的共鸣与释放， 这部作品都能够在不同程度上满足你的观看需求，值得在dancihu（dancihu.bgswjd.com/detail-11692.html）完整看完。