Masked and Anonymous

What could go wrong with a movie that features Bob Dylan playing some fun tunes, leading actors John Goodman, Jessica Lange, Luke Wilson, Jeff Bridges and Penelope Cruz, and bit parts by Christian Slater, Ed Harris, Angela Basset, Mickey Rourke and Val Kilmer? Well, let's start with a script penned by Bob Dylan that is easily as ineffable as, say, Subterranean Homesick Blues. If you know why the man in the coonskin cap wants eleven dollar bills (and you only got ten) then maybe you understood this movie. The rest of us struggled with mundane dialogue, disjointed vignettes, thinly veiled allusions to Dylan's life, some sort of statement on revolution, and perhaps an admission by Dylan himself that even he doesn't have a clue as to what most of his songs mean. Maybe if I saw this film another 2-3 times I would unravel the deeper meaning, peel back the layers of symbolism, and better grasp the metaphors that give deeper significance to the movie. On the other hand, it's been 35 years and I still don't know why I should hang around an ink well or watch the parking meters.

I wish I could say that I enjoyed this movie. But the fact is, I rarely laughed, certainly didn't cry, and I didn't really care about any of the characters. I could barely follow the plot line. And I didn't understand most of what was lurking under the surface. None of the actors appeared to have clue as to what was going on either. But then, maybe that's what Dylan meant all along . Maybe, but you shouldn't need a weatherman to know which way the wind blows.

I had read so many bad reviews of this movie. I'd read it was impossible to follow; I'd read that the dialogue was banal; Roger Ebert gave it half a star, claiming it was too ambiguous. So, when I saw Masked & Anonymous, I was prepared for the worse.

Instead, as soon as the movie began, and that Spanish Version of My Back Pages started playing to bomb explosions and imagery of a future gone wrong, I realize: I'm going to like this movie.

First, the plot, far too incredible to really explain here (And it sort of depends on your point of view anyways) is very creative in that it conveys an incredible amount of symbolism. On one hand, this is a movie that mocks rock music (Think of the scene where Uncle Sweetheart tells Fate "You're gonna play rock and roll get rich launch your career and bring world peace all at the same time!") On the other hand, this could be Dylan's way of telling us who he really is. "Maybe I'm just a singer and nothing more" he tells us. He's tired of being made to be a counter cultural liberal protester. He's tired of people who think he only writes anti-war songs. Think of the scene where a woman brings her daughter to see Dylan. When Dylan learns that the little girl knows all his lyrics he asks "What'd she do that for?" And the mother quickly responds "Because I made her." This movie is about so many things: You just have to see it and every time you see it again you'll see more.

Concerning the dialogue. Many people say the dialogue is contrived, banal, or mindlessly poetic. To such people I reccomend they read Shakespeare (He's in the alley). Dylan has been hailed as a modern Shakespeare, so it is not wonder that this movie has the same beautiful poetry that his songs do.

But I will grant this: Bad actors would never be able to pull off this script. And this was probably the movie's strongest feature: Incredible acting. John Goodman deserves an Emmy for his portrayal of the scheming Uncle Sweetheart. Val Kilmer shocked me with his ability to portray the crazed Animal Wrangler. Jessica Lange gave the best performance of her career. The list goes on... Mickey Rourke, Ed Harris, Christian Slater, all surprised me with brilliant acting.

If you have the chance to see this movie, just once, do so. And forgive its few shortcomings-- it was made on short notice, and its messages were meant to transcend all imperfections for movie rookie director Larry Charles. This movie will probably be forgotten one day, which is unfortunate, because rarely is a movie this original.

you cant get much bigger of a Bob Dylan fan than me, but i tried my best to not let that interfere with my evaluation of the movie. If you like Dylan, and at least think you understand him, you'll like the movie. Today, there are 4 cookie cutter classes of movies...your drama, bathroom humor slapstick comedy, your romantic comedy, and everything else. I cant say that this is the best movie ever, but i can say that it was a nice escape from these categories, as about 20% of the year's movies are.

Abstract is what keeps my faith in the modern day films alive. Have a nice day.

This movie will mean little to you if you aren't my age (late fifties). That's because you actually had to be there when Bob Dylan was the most powerful man in the west, exchanging leadership with the merged Lennon and McCartney. Together they led us like no one had or has since in terms of immediacy.

I'm talking about the period between his protest singing and his collapse into fundamentalism. From "Tambourine Man," to "Twist of Fate," with the John Wesley Harding period being his most profound. His method was simple, to let himself go and trust what he saw on the edges of his vision. It wasn't that he engineered himself to be at the front of us. Instead he advertised a small bit of conceptual thinking for the pop mind and we grew into it, in his direction almost as if by accident.

The point is that he was important, but never knew why. His insights and art were far more intelligent than he was. And when he fell into the fundamentalist stupor it probably seemed like a reinvention following all the others.

This business of not knowing is crucial to whether you should actually listen to him when he tries to say something.

So go and watch "Renaldo and Clara" which he co-wrote with one of our two greatest living playwrights. It has a grand shape, multiple people playing the same character; multiple characters played by the same person. Scintillating realities, shifting fundamentals. That's the Sam Shepard part. The Dylan part is so juvenile, so obtuse, so plain artless it carries its own message.

And that's what we have here too. Except this time, the grand shape is by a cartoon writer instead of a master playwright. So we start with vapid notions of profundity. This writer believes that Dylan is still the man most thought he was 25 years ago. Even that was wrong: he simply saw rather than understood even then.

Well, so we have this vast stroke of fate, Jake Fate (Twist of Fate, see?), this notion of the son of a broken God (John Wesley Harding, get it? nudge, nudge) and along the way scads of characters drawn to illustrate the various ways mankind has broken itself.

The good news is that many of these are played by first rate actors. Sam Shephard's wife has the role of "presenter." But they are drawn so cartoonishly they miss any target they could have hit. They are not cinematic. This guy has no cinematic skills. They are not Dylanesque. Dylan has a very specific and consistent imagination that is more "Hitchhiker's Guide" than "Seinfeld" and "The Tick."

We could have gotten an ensemble piece where talented actors synthesized their impressions of Dylan. Now that would have been cool, but they are kept separate.

So what we end up with is a lost soul who once was king, playing a lost soul who once was king, tries to recover — thinks he succeeds, fails miserably in front of our eyes and doesn't know it.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

What do Bad Boys II, The Hulk, Charlie's Angels: Full Throttle and Masked and Anonymous have in common? They were all released in the summer of 2003. Unlike the first three mentioned, 'Masked and Anonymous' is certainly not an action blockbuster or popcorn flick. It's not the kind of movie that you can sit in the sun all day and then show up for and check your brain at the door. (It does have a limited release, so maybe it will be fall/winter by the time it reaches your town.)

I recently saw this at a deserted mall in Los Angeles with a couple of friends, one proclaiming it the worst movie he'd ever seen. (Usually I'd debate them on the car ride back, but I was too busy absorbing what I had just seen.)

It's been about a week since I saw the flick and I'm still forming an opinion, which counts for something. The biggest thing I'm trying to figure out is if the whole movie is just a big joke perpetuated by Bob Dylan and Larry Charles. Considering Charles' work on "Seinfeld" (The Limo, The Opera, etc.) I have a good feeling it is. But it's a good joke, playing to all sides. Detractors can knock the movie because of lack of plot, while Dylan fans can search to find a deeper meaning. It seems Charles and Dylan are sitting back laughing at both of them. (Just as net geeks can chuckle at Dylan's crack at acting.)

In terms of history, 'Masked and Anonymous' won't make any critics best lists or AFI specials, the film is simply not that great. However, the ideas put forth by it, are certainly worthwhile. No matter how you want to slice it, there are certain parallels between the world of Masked and Anonymous and our current world situation. Does Dylan have the answers to this, no, he clearly states he doesn't. He's just a song-and-dance man after all. No sense getting worked up over questions that cannot be answers, but it's fun trying to, right? (That paradox is the crux of the film.)

In closing, yes the movie borders on pretentious and yes it lacks a solid narrative. But considering that 99 percent of movies are pretty cookie cutter and have as much substance as a marshmallow, 'Masked and Anonymous' should be praised for taking a risk and actually questioning the audience. (Not in the sense that Bruce Willis was actually a ghost the whole time.)

On a final side note, it is disturbing to see Walter and the Dude at each other's throats.