The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Filmed in 1965, this documentary follows Dylan and his entourage on his British tour. There are some concert scenes that give a feel for his performance persona. There are scenes of his manager and British agents making deals for him to appear at various venues. But most of the film concerns Dylan backstage.Shot in black and white, the film shows Dylan to be very mercurial. He is at times charming, communicative and seemingly open about his feelings. Other times--in fact most of the time--he is confrontational, condescending and self-contradictory. He is about 24 years old and these scenes remind me of discussions I had when I was that age with other college students. His arguments are circular, as if he enjoys arguing more than he enjoys communicating. He embraces the poet's privilege of not explaining the meaning of his lyrics (which is fine). One gets the feeling that he is tired of dealing with the media and others who want to pick his brain. Why did he give them audience, then? On the other hand, he is generous with fans who have no questions for him, merely seeking his presence or a glimpse of the man.While some of his songs do seem somewhat shallow, others are undeniably deep with meaning about issues that are very timely. Regardless, his songs often have a hypnotic effect, with their sing-song cadences. This film might raise more questions than it answers, but it is fun to watch. The presence of Joan Baez is a plus. Her voice was always special. We don't see much of her, but enough to see her react to teasing and to make silly faces in return.Dylan's songs feel mostly declarative. They are assertions and observations. They usually don't extract the emotional responses of, say, Joni Mitchell, who invites listeners to her inner world. Dylan asks his listeners to regard the outside world with him.

I just FINALLY watched "Don't' Look Back", and although I'm glad I finally plowed through it, I can't really recommend it UNLESS YOU'RE A BIG BOB FAN. The songs (all just snippets) were great as expected, but would it have hurt Pennebaker to let a few play all the way through? Granted, the idea of a rock documentary 51 years ago was pretty much unprecedented, and the fact that he had unlimited access led to some interesting scenes. But maybe I'm just numb to the constant onslaught of reality TV in 2016, so even seeing some from over 50 years ago (which wasn't really "staged" like so much of it is today) just doesn't hold my total interest for 90 + minutes.Best clip: Dylan singing "Only a Pawn in Their Game" on July 6, 1963, at a Voters' Registration Rally in Greenwood, Mississippi (shot by artist and experimental filmmaker Ed Emshwiller). NOW THIS WAS SOMETHING I HADN'T SEEN BEFORE , nor did I know it even existed.2nd best clip: the groundbreaking "Subterranean Homesick Blues" video. Often imitated, and never quite duplicated, this is still AWESOME a half-century later!

Been listening to a lot of Dylan recently and so I watched this again. Probably not seen it since video days and the only drawback that I remember from that viewing was that some of the dressing room/hotel room conversations were a bit inaudible. Much clearer now and what a superb documentary this is. Again, perhaps, particularly seeing it 45 years after it was shot it is amazing to see Dylan performing the very songs I am still listening to and seeing him in conversation and argument with pals and interviewers. How old the people sent to interview him now seem and how unprepared for the changing times. So fantastic to have such a document without over dubbed narration or nodding heads just a swirling camera glancing from face to face and following Bob down labyrinthine corridors until finally out of the darkness and onto the spotlight stage. Clapping and not screaming greets his songs and the relaxed and jokey style is a joy to watch. Not sure what my favourite bits are but apart from the stage songs there is a great exchange with a journalist from Time magazine and another with a university student/interviewer. Probably best for me, though, was the turn with Donovan who bravely performs a song in front of Dylan and his entourage to quiet appreciate and some success. But, Dylan then borrows his guitar and replies with a devastating performance of It's All Over Now Baby Blue. It wasn't over for Donovan for a few more years but it is still not yet over for the amazingly creative, Bob Dylan.

Although Dylan, on the whole, still scares me somewhat, and I can't still quite get into his music, I do like D.A. Pennebaker quite a lot, and decided to finally see this. Much like my favorite "concert" film of all time, Depeche Mode 101, Pennebaker doesn't really focus on the music (in this case, Dylan was on tour of England at the time), but focuses on the inner-workings of the tour, and most importantly, on the man himself. Dylan doesn't hold back, and seems comfortable with the camera in front of him as he goes with the day to day operations of being Bob Dylan. There are some nuggets here, Dylan's feelings about Donovan, Dylan gets into a loud argument with an unidentified person about throwing a glass off the hotel balcony. And you also get to see a lot of Joan Baez. Ack. lol. What I dug about this is the whole 60'sness of it all, look at the kids arriving to the concert in their shirts and ties! Such well mannered blokes! Fun film that I wouldn't mind seeing again,