镜子的另一面：纽波特民歌艺术节1963~1965

《镜子的另一面：纽波特民歌艺术节1963~1965》讲述的是什么故事？

《镜子的另一面：纽波特民歌艺术节1963~1965》　　"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd'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 problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here) Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, 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 ླྀs.

一、《镜子的另一面：纽波特民歌艺术节1963~1965》是哪一年上映的？

《镜子的另一面：纽波特民歌艺术节1963~1965》是Murray Lerner于年拍摄的一部经典欧美综艺。此片开创美国当代欧美综艺的先河，《镜子的另一面：纽波特民歌艺术节1963~1965》上映时票房稳坐前三，创下当年纪录。当时Bob Dylan,Joan Baez,Judy Collins均为最佳主角，Bob Dylan,Joan Baez,Judy Collins以精彩演技和突出形象，奠定在美国影坛地位。Bob Dylan,Joan Baez,Judy Collins饰演角色造型多年后仍为人所模仿。Murray Lerner之前曾被人怀疑其能力，而《镜子的另一面：纽波特民歌艺术节1963~1965》却奠定Murray Lerner欧美综艺风格。《镜子的另一面：纽波特民歌艺术节1963~1965》首映时曾获海外欧美综艺和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指年代）美国优秀欧美综艺齐名。

二、被称为欧美综艺的开先河之作的《镜子的另一面：纽波特民歌艺术节1963~1965》，是Murray Lerner最好的作品吗？

从Murray Lerner斩获欧美综艺最佳导演开始，很多观众就觉得这部《镜子的另一面：纽波特民歌艺术节1963~1965》是他极具代表性的欧美综艺。虽然Murray Lerner后来还拍出过评价很好的作品，但是《镜子的另一面：纽波特民歌艺术节1963~1965》依然常被认为是他欧美综艺创作中的重要代表。

三、《镜子的另一面：纽波特民歌艺术节1963~1965》为什么可以成为经典？

提起美国，不少观众都会想到《镜子的另一面：纽波特民歌艺术节1963~1965》的名字。这部由Murray Lerner导演，Bob Dylan,Joan Baez,Judy Collins主演的《镜子的另一面：纽波特民歌艺术节1963~1965》，在当时凭借鲜明的人物塑造和紧凑的欧美综艺叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《镜子的另一面：纽波特民歌艺术节1963~1965》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《镜子的另一面：纽波特民歌艺术节1963~1965》？

《镜子的另一面：纽波特民歌艺术节1963~1965》口碑表现稳定，深受广大观众喜爱。不仅Bob Dylan,Joan Baez,Judy Collins的表演有看点，而且该欧美综艺故事情节紧凑，影院2（2.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《镜子的另一面：纽波特民歌艺术节1963~1965》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《镜子的另一面：纽波特民歌艺术节1963~1965》欧美综艺的主要内容

《镜子的另一面：纽波特民歌艺术节1963~1965》是一部欧美综艺作品，由导演Murray Lerner执导，Bob Dylan,Joan Baez,Judy Collins主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的欧美综艺故事。

《镜子的另一面：纽波特民歌艺术节1963~1965》　　"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd'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 problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here) Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, 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 ླྀs.