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quot;Bob Dylan going electricquot; at the 1965 Newort Folk Festival is one of those eochal moments in rock history that seemingly everyone has heard about, but what few eole seem to know is that it wasn#39;t some ehemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the erformances at the Newort Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan aeared at the celebrated folk gathering, allowing us to see Dylan#39;s rise through the folk scene for ourselves. Watching Lerner#39;s documentary, what#39;s most remarkable is how much Dylan changed over the course of 36 months; the young folkie erforming at the afternoon quot;workshoquot; at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while choing away at his acoustic guitar and energizing the crowd without seeming to know just what he#39;s doing. In 1964, Dylan all but owns Newort, and he clearly knows it; he#39;s the talk of the Festival, with Baez and Johnny Cash singing his raises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including quot;Mr. Tambourine Manquot; and quot;It Ain#39;t Me, Babequot;) sees him moving away from the quot;rotest songsquot; that first made his name. When the audience demands an encore after Dylan#39;s evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to kee the show moving along while Dylan beams at the crowd#39;s adulation, like the rock star he was quickly becoming. By the time the 1965 Newort Festival rolled around, Dylan#39;s eochal quot;Like a Rolling Stonequot; was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his oular (and oulist) success. When Dylan, Fender Stratocaster in hand, erforms quot;Maggie#39;s Farmquot; backed by Al Kooer, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number insires a curious mixture of enthusiastic cheering and equally emhatic booing, and while legend has it that the version of quot;Like a Rolling Stonequot; that followed was a shambles, the song cooks desite drummer Sam Lay#39;s difficulty in finding the groove, though if anything the division of the crowd#39;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 roblems (if Pete Seeger really ulled the ower on Dylan, as legend has it, there#39;s no sign of it here); Dylan returns to the stage with an acoustic six-string to sing quot;Mr. Tambourine Manquot; and quot;It#39;s All Over Now, Baby Bluequot; before vanishing into the night without comment. While much of the audience at Newort in 1965 wanted the quot;oldquot; Dylan back, his strong, willful erformances even on the acoustic stuff makes it obvious that the scray semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few eole wanted to see Dylan rock. Lerner#39;s film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this ivotal moment in his career, and his erformances are committed and forceful throughout; no matter how many times you#39;ve read about Dylan#39;s Newort shoot-out of 1965, seeing it is a revelatory exerience, 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 #39;60s.
