Word: clara
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...earlier this year, surfacing in Los Angeles, Minneapolis and New York, was the new Dylan movie, Renaldo and Clara. It even hit Cambridge for two weeks, and you know that if it bombed here it's probably not going to go over that well in the hinterlands. The reasons Renaldo and Clara is a bad film are well-documented; it seems there is little reason to go into there here, at least at length. But Dylan-watchers are like sinologists--what is the significance of this wall poster, that party member's rehabilitation? And it is my private contention that...
...instability within the regime--to Rolling Stone, New Times, and to John Rockwell of The New York Times. But soon a spate of interviews appeared--in Playboy, in lots of places--and to Dylan-watchers it indicated panic in Malibu. It did not bode well for Renaldo and Clara. For the first time, Dylan was downright solicitous of interviewers, especially the simpering Jonathan Cott of Rolling Stone. It seemed Dylan only wanted free ink; the rebellious posture that had led him to attack a Time Magazine reporter in Don't Look Backwas revealed as only a posture...
...minutes worth. It opens with Dylan singing "When I Paint My Masterpiece" and closes with "Knocking on Heaven's Door," and every song between those two clicks; Dylan singing with demonic intensity as he did on neither the Rolling Thunder television special or the live album. Renaldo and Clara also contains some of the best concert footage ever shot, including the Rolling Stones in Gimme Shelter. But as relief from the concerts we get documentary-style interviews, the best of which--David Blue and his speed freak raps at the pinball machine, an interview with black street kids uptown...
...masks. You see, Dylan doesn't play Dylan in this film; corpulent Ronnie Hawkins does. Dylan plays Renaldo, a somewhat logical cross between the Jack of Hearts and the lone rider of "Romance in Durango"--"Hot chile peppers in the blistering sun/Dust in my face..." Sara Loundes Dylan plays Clara, while Ronnie Blakelee plays Mrs. Dylan, and Joan Baez is the Woman in White. Basically, this is the movie--it appears nothing was planned, nothing "directed," and the cinema verite we are left with is a pastiche of extraordinarily fine concert film and meaningless vignettes, none very illuminating, some extremely...
...next phase, the dancers attempt to discard their constraints actively. In the second photograph, Clara Maxwell '80 symbolically sheds the beauty that restricts her by ruffing up her hair. In the third section, the dancers succeed in casting off their chains for a short time, and pretty, free-flowing forms predominate...