IN 1966, ROGER CORMAN MADE an offer to young assistant Peter Bogdanovich that the wannabe director couldn't refuse. Corman had two days left to run on a contract with Boris Karloff, and the challenge was this: use that time to film 20 minutes of new material with the veteran actor, edit in another 20 minutes of Karloff footage from Corman's The Terror, shoot another 40 minutes with other actors, then stitch the lot together. The result was Bogdanovich's first and, arguably, greatest movie.
This belated sequel to 2002's triple-album retrospective Love God Murder features 18 songs that might easily have fitted under one or another of that set's individual headings. Not, perhaps, "Murder"—the only death here is that of the Native American hero of Peter LaFarge's "Ballad Of Ira Hayes", a war hero allowed to fall into alcoholism and ignominy after he'd helped raise that iconic flag at Iwo Jima—but certainly "Love" and "God".
"Through the camera of Bob Dylan's drummer, Mickey Jones," the opening credits promise. Yes, Jones was there. But the problem is he was more interested in filming hotels and tourist haunts than chronicling Dylan's progress. Then, when it came to the incendiary shows, he was to be found behind drum kit rather than camera. Not much Bob, then. But Dylanologists will still be fascinated by Jones' eyewitness account as he talks us through the electrifying events all over again.
