Masked and Anonymous

A puzzling, very dark, far-fetched and totally abstract political satire that is revealed through the film's dialogue and the contents in the 7 songs of Dylan's Jack Fate. Fate (supposedly to be a pun?), a faded (looks kind of jaded in his looks,too!) cult-singer gets out of prison to play at a benefit concert for the victims of wars. Fate performs with a band, called Twist of Fate. The film offers an ‘Armageddon' view of an artist's loss of creative freedom to a consumer-consumed corrupted and politically-correct society. Will Fate forgo his freedom of artistic expressions to satisfy the commercial ideals of the corporate world. The themes of government corruption, female deceit, and the need for a messiah are also constantly evoked. It's Fate's concept of a world of madness and perfidy, and the corruption of society. There doesn't seem to be any plot in this film, but it sure feels like it does have loads of messages to pass on! The location (with ‘science-fiction' landscapes of a crumbling society) may be "Somewhere in America" - a notice, at the beginning, seems to suggest so. There are unexplainable groups, rioting or carrying out terrorist acts or even military operations. There are canvas images of a dictator-like "President" (a reminder of Saddam Hussein?) scattered in between scenes. Is the location totalitarian? The film does imply that the location has nothing positive to offer – bringing to mind the Orwellian Dystopia! The viewer does get to see this location turn into a police state.

The relationship between all characters, except for that between Fate and Luke Wilson's Bobby Cupid, seem cold and ugly. Art vs. commerce is metaphorically represented by the roles of John Goodman and Jessica Lange. There are several references to contemporary news. Giovanni Ribisi plays a confused man eager to join the insurgents, and discovers their funding is by the government they are hoping to topple. Perhaps, a John Walker Lindh? Jeff Bridges plays an aggressive journalist. "I'm on your side," he tells Jack. Jack responds with: "That depends on your point of view." Take heed of the wisdom of Ed Harris' blackfaced ‘Al Jolson' minstrel-show character – to avoid Fate's fate! The film's finale occurs as a result of a ‘Pretender' presiding over the location. That strikes me as the most powerful ending I've seen this year!

It's a complex film that cries for opinionated answers – even harder to analyze than Jean-Luc Godard's ‘60s movie or Fellini's La Dolce Vita – or even Mulholland Drive! One would see it as a brilliant attempt, or hate it without any ‘buts'!

I actually hated the movie at the end of it, but given time, discussion and re-thinking, I've found this film excitingly interesting and clever!

Yes, the dialogue was unrealistic and heavy-handed. Yes, the conversations were often one-sided. Yes, it was preachy at times. And yes, there is something caught in Bob Dylan's throat. I feel fortunate not to have read any of the reviews of this film before I saw it, because otherwise my experience may have been tainted. I lost myself in this movie. In it's poetry. It's power. The music, alone! I found it moving, compelling, and beautiful. I'm not saying everyone is wrong who gave it a bad review. In fact, a lot of the points they made are very valid. I just think that the points they made make a stronger case for why the movie is good, not why it is bad. It's not a blockbuster, it's not an action flick, it's not a chick-flick or a romantic-comedy. It's not really like anything. The only movie I know of to compare it to, other than maybe an Ingmar Bergman film, is "Big Bad Love", with Arliss Howard. Now THERE is a slow, sparse, pretentious and indulgent film. But it works. It's poetry. It's not reality, and neither is "Masked & Anonymous". In fact, the filmmakers go a long way to make sure you know it isn't reality--or at least any particular reality. It's an allegory. It's a metaphor. Just look at the scene where Jessica Lange hears the news report on the radio saying that scientists dug the deepest hole in the world and heard the wailing of thousands of lost souls. If you think that's not supposed to be poetry right there, then you have got the wrong notion about the film as a whole. I encourage you to take another look at it from another perspective and see if your opinion changes. If it doesn't, there's nothing wrong with that, but at least you will have given it a chance.

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.

yes, this is a film about cousin bob. this is the authorized bio of captain Dylan...most of the humor, the comedy of it is centered around the archetypes of humanity dying to know or, believing to know this man they want to know. hardcore Dylan fans have come out to say a resounding 'no'. and why not? when was this man ever pegged down? every actor is endowed with great lines and greater motivation, the screenplay is awesome for an actor: there is a deleted scene where goodman tells Wilson about Alexander the great that is, like most scenes, profound but hilarious--it is a tight rope to walk. and in the background of that scene, there is again the vision of the giant rabbit. it's quite possible that the logic of this film confounds more than a few because it is expected to make sense like the sense we have been relying on for centuries... but sense was never really established concretely. the pitfall of this film is to expect something from it, to not realize the little things: Luke Wilson says 'the glass is always empty, so is the place where the money should be.' ribisi's speech on changing sides; goodman says later to Dylan 'i'm on your side' and Dylan counters 'you have to be born on my side, sweetheart', dylans lines about what cows can digest. and this film is chock full of wonderful, little things... mickey roarkes speech after the president dies, the montage of friend grilling fate, they are all hysterical, the whole script is so dead on, you cannot hold back the laughter. this is a tragic comedy if ever there was one. if one were to witness the last of a species, a specimen that had never been seen before, it would appear strange and without a base, a reason; this film is that. every character is carefully written, carefully acted to breathe life into the archetypes they represent and they all want something from fate and they use whatever wiles they have to get it, but fate does nothing but let them choose their fates, respectively. he is the thing they want and cannot have. the thing, that if only they could nail it down, it could be done and buried. but fate says he has a few songs left. the story of his life, right?

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.