POESIA E ROCK a Cura Di Alex R

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POESIA E ROCK a Cura Di Alex R POESIA E ROCK a cura di Alex R. Falzon “MASKED AND ANONYMOUS” (2003): nendo canzoni dell’‘era della protesta’ coro femminile, ed una It’s Alright, Ma, DYLAN & IL CINEMA (quali Blowin’ in the Wind oppure A Hard I’m Only Bleeding dalla forte carica cor- Rain’s A-Gonna Fall) che da tempo ave- rosiva, e dove lui ‘sputa’ fuori le parole I. I paragrafi che seguono si prefiggono va tolto dalla propria scaletta. con la raffica virulenta di una mitraglia- un duplice scopo: non solo di recensire il Negli altri ‘film-concerto’ in cui appa- trice impazzita). E poi, sempre in questo film Masked And Anonymous, in cui Bob re – e cioè The Last Waltz e Hard Rain – gruppo di films, non vanno tralasciate The Dylan, dopo circa 17 anni, recita una parte egli svolge, rispettivamente, un ruolo ‘co- 30th Anniversary Concert Celebration determinante (anche per via della colon- rale’ e ‘centrale’. In The Last Waltz (1977, (1993; prodotto da Jeff Rosen) e, infine, na sonora stessa del film); ma di conte- diretto da Martin Scorsese e da molti con- MTV Unplugged (del 1994). stualizzare tale film all’interno dell’ormai siderato il miglior film musicale in asso- In The 30th Anniversary Concert Cele- lunga carriera cinematografica del cantau- luto), Dylan è solo uno dei tanti ospiti del bration, di nuovo al Madison Square Gar- tore statunitense. In altre parole, verrà de- concerto d’addio della Band (come Van den, un folto gruppo di musicisti ha reso lineata una breve cronistoria del rapporto Morrison, Dr. John, Neil Young, Muddy tributo all’allora trentennale carriera di rock e Poesia che, a partire dagli anni ’60, ha legato Waters, Joni Mitchell, eccetera), per Dylan (che ha chiuso lui stesso la serata Dylan al mondo dei Fratelli Lumière. quanto sia l’ospite finale; e canteranno con una versione acustica di Girl From the Anzi tutto, c’è da dire che ho visto insieme quei brani – davvero incande- North Country); la maggior parte degli Masked And Anonymous sul DVD ingle- scenti – da I Don’t Believe You a Forever artisti invitati, comunque, forse perché un se di recente uscita (arrivato dall’Inghil- Young, passando attraverso l’estatica I po’ intimiditi dall’impressionante canzo- terra, dove il film, per l’appunto, è ‘pas- Shall Be Released – che, negli anni, han- niere di Dylan, si sono limitati a riprodur- sato’ solo in DVD e VHS, saltando quin- no vitalizzato la stretta colloborazione tra ne delle covers senz’anima; per cui, in di un’eventuale apparizione in sala); e Dylan e The Band. Il film Hard Rain mezzo a tale ‘deserto’ creativo, hanno la- temo che lo stesso destino gli spetterà (1976), come si è detto, è dedicato inte- sciato la propria impronta solo una man- anche in Italia: per cui dovremmo accon- ramente ad un concerto di Dylan, tratto ciata di essi: tra cui Lou Reed (la cui sar- tentarci di non vederlo mai sul grande dalla sua Rolling Thunder Revue (appar- donica Foot of Pride sembra proprio un schermo; e ciò è un vero peccato: perché so poi anche su vinile, sempre nel 1976), brano uscito dalla sua penna); Eddie Ved- ogni film che viene visionato sul piccolo e dove Dylan comincia stravolgere le can- der e Mike McCready (che hanno canta- schermo del video perde, inevitabilmen- zoni classiche del suo repertorio (cosa to insieme la funerea Masters of War, con te, non solo in spessore, ma anche in pro- che, oggi, fa abitualmente nel corso del un ritmo così allucinato che, non a caso, fondità. La colonna sonora, tuttavia, era Never Ending Tour, avviato nel lontano ricordava quello di una campana suonata già uscita da un anno (anche in Italia), in 1986, sconcertando i suoi fans di ‘primo ‘a morto’); e poi bisogna menzionare l’in- contemporanea con l’uscita del film ne- pelo’): in questo caso, sto pensando ai tramontabile, ma sempre dinamico, Neil gli Stati Uniti; avrò, comunque, occasio- gustosi, e nuovi, arrangiamenti di Mag- Young (in una trascinante versione di Just ne di tornarci sopra tra non molto. gie’s Farm, nonché di Lay, Lady Lay. Da Like Tom Thumb’s Blues), senza tralascia- I films di Dylan si dividono, in larga questa fortunata tournée è scaturito quel re Johnny Winter (la cui performance di misura, in ‘musicali’ e ‘non-musicali’; ‘in ‘diario di bordo’ (il Rolling Thunder Lo- Highway 61 Revisited è pura dinamite larga misura’ perché Renaldo and Clara gbook, per l’appunto, del 1978), ad opera che, per una volta, infonde gioia). (1979; scritto e diretto da Dylan stesso) è del grande drammaturgo Sam Shepard Infine, c’è MTV Unplugged (uscito su un ibrido tra questi due generi. che, nel 1986, contribuì a scrivere, a quat- DVD solo quest’anno): si tratta di un con- I films ‘musicali’, poi, sono tutti dei tro mani con Dylan, l’unico pezzo – dav- certo, registrato negli studios sulla East documentari: o, se vogliamo, sono delle vero stupendo, lungo 17 strofe – dell’al- Coast della Sony, nel 1994: un concerto registrazioni live di memorabili concerti bum Knocked Out Loaded (altrimenti tra- più che dignitoso (e che il New York Ti- in cui Dylan ha partecipato; e qui penso a scurabile); Brownsville Girl non solo è mes giudicherà uno dei suoi migliori da- Concert for Bangla Desh (uscito nel una delle sue canzoni più belle degli anni gli anni ’60; ma il 1994 fu un ‘anno ma- 1972) che, in un certo senso, segna il suo ’80, ma è anche estremamente ‘cinema- gico’ per tutto il Dylan live); grazie an- grande ritorno sulle scene, dopo la sciat- tografica’ , con le sue molteplici allusio- che al batterista, Winston Watson, che ta performance del 1969 all’Isola di ni al western di Henry King (The Gunfi- mostra di avere un orecchio davvero in- Wight, di cui si salva solo il brano Min- ghter, del 1950, con Gregory Peck). fallibile per il ritmo, e che sa sempre come strel Boy (incluso poi sul doppio album, Sempre in questa categoria del ‘film- accentuare ogni brano con il suo proprio Self-Portrait, del 1970), dove un Dylan concerto’ (con Dylan che vi occupa un battito sanguigno. Tra i brani memorabi- del tutto privo d’ironia, si domanda: posto centrale), si può annoverare Hard to li, si possono menzionare la sottovalutata «Who’s gonna throw this Minstrel Boy a Handle (1986; diretto da Gillian Arm- Shooting Star, la magnifica Dignity (uno dime?». Nel Concert for Bangla Desh (re- strong) dove Dylan, in Australia, si esibi- dei migliori pezzi dell’ultima produzione gistrato al Madison Square Garden di sce insieme a Tom Petty e The Heartbre- di Dylan), nonché una ipnotica Desolation New York, nell’agosto del 1971), Dylan, akers (e dove spiccano sia una In the Gar- Row (che avrà senz’altro suscitato più di invece, accontenta i vecchi fans ripropo- den molto spirituale, potenzializzata dal un fantasma, soprattutto per chi, all’epo- rivista di poesia comparata XXX-XXXI 2 0 0 4 semicerchio 163 Bob Dylan ca, aveva più di quarant’anni). cinematografico di Cannes del 1978 ed è, In Pat Garrett e Billy the Kid, uno dei I documentari ‘non-musicali’ centrati come ho scritto sopra, un incrocio tra il tanti films western in cui Peckinpah met- su Dylan: sono, essenzialmente, due: documentario ‘non-musicale’ e il ‘film- te a nudo i miti della frontiera, Dylan ebbe Don’t Look Back (diretto da D.A. Penna- concerto’: in quanto alterna riprese – ef- una parte tanto breve quanto intensa: quel- baker) e Eat the Document (co-diretto da fettuate nel 1977, durante la tournée con la dell’emblematico ‘Alias’ (anche se il Pennabaker e da Dylan stesso), entrambi la Rolling Thunder Revue – con l’aggiunta nome, e il personaggio, figuravano già nel del 1967, ma filmati qualche anno prima di parti ‘narrative’ e ‘sceneggiate’ (in al- romanzo di Rudy Wurlitzer da cui fu tratto e, quindi, con un Dylan eletrizzante ed in tri termini: si tratta della tentata realizza- il film), in cui, alla fin fine, grazie alla sua pieno ‘stato di grazia’. Don’t Look Back, zione degli intenti – allora mancati – in- recitazione nervosa e scattante, Dylan se girato in un bianco e nero sgranato, in sin- siti in Eat the Document). Il film, che ori- la cavò piuttosto bene, suscitando il plau- tonia con lo stile cinéma vérité voluto da ginariamente durava più di quattro ore, so della critica, nonché dei fans. Ma fu il Pennabaker, segue, insegue, e perseguita venne stroncato ovunque, anche se Paul film stesso a non farcela affatto, perché il Dylan durante la sua tournée inglese del Williams – uno dei critici più autorevoli di produttore (Gordon Carroll, che non ave- 1965 dentro e fuori i camerini dei teatri, Dylan – lo chiama (in Bob Dylan: Watch- va fiducia in quella ‘testa-matta’ che per le camere d’albergo, le sale dove incon- ing the River Flow, del 1996), un grandio- lui era Peckinpah), glielo massacrò: ese- tra i giornalisti (e se li mangia), gli uffici so film epico incompreso, volutamente guendo un altro montaggio che, tra l’al- dove si firmano i contratti, i taxi ed delle non-lineare ed enigmatico, il cui stile ‘de- tro, aveva riarrangiato la colonna sonora, auto che lo portano ai concerti, in modo costruzionista’ era un po’ in anticipo rispet- scartando – in tal processo – brani già Poesia e rock e Poesia serrato e claustrofobico, registrando tut- to ai tempi. Teniamo Renaldo and Clara a scritti (come la tutt’oggi inedita Goodbye to e tutti, dimostrando – se non altro – mente, perché, tra non molto, ci aiuterà a Holly) oppure introducendoli in sequen- l’enorme pressione a cui era sottoposto.
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