◎由馬丁史柯西斯導演的Bob Dylan《Rolling Thunder Revue》可說是一部無法分類的紀錄片/演唱會電影，副標題為「馬丁史柯西斯之Bob Dylan故事」，電影把許多「Rolling Thunder Revue」時期棄用的鏡頭重新修復再使用，像是Dylan和他的夥伴，包括小提琴家Scarlet Rivera、吉他手Mick Ronson，從1975年到1976年在美國演出的內容。
◎這是Bob Dylan的過渡時期，當時34歲的他很少以這種力道與精準聲線演出，聽到他演唱〈The Lonesome Death of Hattie Carroll〉、〈Simple Twist of Fate〉和〈Knockin' on Heaven's Door〉時會很激動，帶出所有Dylan抗議時期的歌曲。
◎這部電影還採訪了Bob Dylan（他10年來第一次受訪）談得到諾貝爾文學獎及對他對包括Ramblin Jack Elliott、Roger McGuinn、Joni Mitchell等旅行吟遊者的反思，甚至Bob Dylan與前情人Joan Baez在演唱會後台的戲弄也入鏡，非常親密。
Just when you think you have this unruly, untamed phantasmagoria pegged, this unclassifiable documentary/concert film — subtitled "A Bob Dylan Story by Martin Scorsese" — continually pulls the rug from under you. The film features a glorious restoration of previously abandoned footage from the Rolling Thunder Revue as Dylan and company, including violinist Scarlet Rivera and guitarist Mick Ronson, played gigs across America from 1975 to 1976.
It was a time of transition for the tambourine man. His electronic success in large stadiums left him yearning to play smaller venues to get closer to audiences going through major transitions themselves in an America torn by Watergate, a futile war and a disgraced President. Yet the mystery abides. There's Dylan on stage, his hat festooned with flowers, his face covered in white paint (a tribute to Kiss, he says) and sometimes a plastic mask. What's he hiding? Nothing, as Dylan sees it: "You only tell the truth when you're wearing a mask." It's all part of a leap off into the wild blue yonder of no-limits, 1970s imagination.
Dylan's singing has rarely rung out with such power and vocal precision — it's revelatory to hear him invigorate "The Lonesome Death of Hattie Carroll," "Simple Twist of Fate" and "Knockin' on Heaven's Door." The then-34-year-old was working on the album "Desire" at the time of the tour. One track, "Hurricane"— a protest song that railed against the racially motivated murder conviction of boxer Rubin "Hurricane" Carter — brings out all of Dylan's old protest-singer fire. Simultaneously, Scorsese was prepping his volcanic comment on the era with Taxi Driver. You can feel that old black magic coursing through both artists as you watch Revue.
And there's more. The film features a new interview (the first in 10 years) with the Nobel laureate and reflections on his traveling troubadours, including Ramblin Jack Elliott, Roger McGuinn and Joni Mitchell. Dylan's backstage banter with former lover Joan Baez, in which they snap at each other for marrying other people, feels shockingly intimate — even if you know these moments are lifted from Dylan's 1978 film, Renaldo and Clara, a fictionalized account of his own life.
Rolling Thunder Revue plays like a great Dylan song, as the artist darts playfully and poetically between fact and fiction. Scorsese follows suit, using scenes, not just from Renaldo and Clara, but from a documentary on Roma travelers, the French cinema masterpiece Children of Paradise, a pilgrimage Dylan and poet Allen Ginsberg took to the grave of Jack Kerouac and anything else that illuminates the mosaic of the artist's creative process. Scorsese knows what goes into a Dylan song—his nearly four-hour, 2005 documentary No Direction Home traced the musician's early-to-going-electric years. But Rolling Thunder Revue is a different animal. It's part tour diary, part trickster handbook and totally mesmerizing. Rockumentary-wise, you've never seen or heard anything like it.