Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese 2019

The film begins with a contemporary Bob Dylan expressing his inability to recall the details of the Rolling Thunder Revue, humorously stating, “I wasn’t even born!” He struggles to articulate the essence of the tour, claiming, “it’s about nothing.”

As the nation’s bicentennial approaches amidst the dismal atmosphere following the Vietnam War and the Watergate scandal, Dylan decides to unite a group of friends from the Greenwich Village coffee houses for an adventurous journey through New England and parts of Canada. This tour, named the Rolling Thunder Revue, is captured by Stefan Van Dorp, a fictional European filmmaker, who aims to reveal the hedonism surrounding Dylan while contrasting it with the nihilistic sentiment prevalent in middle-class America.

Throughout this eclectic tour, Larry ‘Ratso’ Sloman, a reporter from Rolling Stone, attempts to assimilate himself into Dylan’s close circle. Meanwhile, a young Sharon Stone is tasked with managing costumes after accompanying her mother to a show, where she becomes convinced that the song “Just Like a Woman” pertains to her. Dylan takes on the persona by wearing Whiteface makeup onstage, inspired by violinist Scarlet Rivera, who introduces him to a Kiss concert. Poet Allen Ginsberg tries to reinvent himself as a singer/songwriter, feeling the beat poet movement’s popularity wane. Joan Baez, in an earnest attempt to reignite their past romance, joins Dylan on stage while adorning his iconic outfit. During this time, Dylan also visits a Tuscarora Reservation in New York, where he performs “The Ballad of Ira Hayes.” Midway through the journey, Joni Mitchell joins the tour, drawing inspiration for her song “Coyote” from the experience.

Throughout the tour, Dylan’s compassionate side shines when he unexpectedly meets with record company executives to expedite the release of his new song “Hurricane,” advocating for Ruben “Hurricane” Carter, a boxer wrongfully imprisoned for murder. The documentary captures footage of this meeting, followed by Michael Murphy portraying U.S. Congressman Jack Tanner, weaving a fanciful narrative suggesting Tanner convinced President Jimmy Carter to intervene on Carter’s behalf. Even amidst this fictional segment, “Rolling Thunder Revue” demonstrates how Dylan and others ultimately contributed to Carter’s retrial and release.

As the tour concludes in Montreal, Van Dorp reveals that his primary motive for participating in the documentary was to claim ownership of the tour footage. Allen Ginsberg encourages viewers to embark on their own journeys of self-discovery, inspired by the performers they’ve witnessed. The narrative closes with Dylan continuing his relentless touring, performing over 3,000 shows over four decades, a testament to his enduring legacy.