Reasons to Use Dylan, Part One
We caught up with our friend, George, last night up at Govinda’s, where we got dinner and a movie for what would normally be the price of either rather than both (well, nearly). You’ve got to appreciate the Krishnas for this, and no hard sell, either. Plus, you get to watch the movie reclining on these big ol’ cushions, propped up at just the right angle. They could stand an equipment upgrade, as the film was kinda cloudy and the sound a little off, but it’s hard to imagine catching a first-run film (just off: they seem to play sometime in between the last theatrical run and the video store release) so cheaply or so comfortably, and just after a first-rate meal, too, all in the one location. Meanwhile, North Country was very good, as any movie with Charlize Theron and Frances McDormand would be, ably abetted by the best performance Woody Harrelson’s put in on the big screen maybe ever and a bit role for Sissy Spacek, and perhaps especially since movies about class action lawsuits, let alone sexual harassment class actions, wouldn’t normally be expected to be any good at all. Still, Norma Rae got Sally Field an Oscar, didn’t it? Even if that didn’t help Ms. Theron, North Country’s still worth watching, if only as a reminder that since 1989, when the movie is set, we haven’t come so very far even from the days of Anita Hill, if we have at least managed to advance beyond the hideous behaviour exhibited herein. Apropos of the heading on this post, the movie makes extensive use of some really bad Dylan, insofar as there is any, although only, as near as I can figure, because it’s set in Minnesota. There’s probably better period music to use for better purposes, but I almost didn’t mind.