It makes “Yellow Submarine” look like a miracle of sober narrative.
... The problem for “I’m Not There” is not one of credibility (after all, these tales are meant to be tall) but of what authority a movie retains when its component parts fly off in different directions. Dylan, to judge by the ardor of his admirers, is indeed inexhaustible, in his gifts as in his changes of tack, and one quite understands why Haynes—who co-wrote the film with Oren Moverman—should have scorned a plain bio-pic. To come at a stubborn subject from multiple angles was a smart move, but Haynes is so enthralled by the stylistic opportunities that his plan affords, as he was in the fifties-hued “Far from Heaven,” that he ends up more interested in the angles than in anything else, leaving the elusive Dylan, once again, to slip away.
... “I’m Not There” is bravely conceived, but some of the reconstructions of the folk movement could have come straight out of “A Mighty Wind,” and what exactly Haynes adds to “Don’t Look Back,” or to Martin Scorsese’s majestic “No Direction Home: Bob Dylan,” released two years ago, only Dylanologists can tell. The rest of us, far from seeing the light, may even be led to ask, heretically, what all the fuss was about. So who is this movie for?
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