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Renaldo and Clara

Dylan cartoon Or:
When I Paint My Masterpiece, Part 3, The Influences

 by Chris Cooper

 

RENALDO AND CLARA


The Scenes 

PART 2

 

Scene 64  KNOCKIN ON HEAVEN’S DOOR (Clinton Correctional Institute Dec 7th, 1975)

On stage at Trenton Jail, Dylan, McGuinn, Baez, Ginsberg, Peter Orlovsky and Roberta Flack are finishing the show by singing. 

Scene 65  (Clinton Correctional Institute Dec 7th, 1975)

Rubin “Hurricane” Carter is being interviewed by the press. In prison. When asked what will happen if the courts say “no” he replies ”We just keep on going, the road is straight ahead”.

Scene 66  The Streets Of New York

Possibly two scenes together as we get what appears a brief glimpse of that odd female crowd from scene 64  before we are on the streets of New York, black people are being interviewed about Carter. All through these scenes we can hear Dylan singing HURRICANE Several of the black interviewees are quite vehement in their attitude as to how they, as well as Hurricane are treated. 

Scene 67  (Clinton Correctional Institute Dec 7th, 1975)

Further conversation with Hurricane about his book the Sixteenth Round. 

Scene  68  The Streets Of New York

A white man who says he is a 72 year old cop joins in but states he thinks the coloured people will “punch him” At one point a woman, Sister Roberta Smith, is grabbing everybodies attention by announcing that she’s got something to say  “that is gonna enlighten, you, you and you.” When it urns out that she is talking about the prophecies of Daniel, she is quickly interrupted. 

Scene 69  (Clinton Correctional Institute Dec 7th, 1975)

Further conversation with Hurricane this time about what he thinks of America. 

Scene  70  The Streets Of New York

Once again the black crowd are protesting for Hurricane to be released. These combined scenes have now taken 15 minutes of the film, the longest uninterrupted section in the film. Clearly Dylan saw this as a pivotal part of the film. He cannot resist cutting too 

Scene 71  Dreamaway Lounge, Springfield Nov 7, 1975

Mama Maria Frasca who is finishing singing her song “pray God and see, it wasn’t you, and it wasn’t me” and then tells people that both her songs are available on a record. Mama “by the way, anybody want a record, it’s one dollar and I got them for sale.” 

Scene 72  Probably October 25th or 26th  1975

On their way to see Yetnikoff at the Columbia office in New York, Dylan and the film-crew are hassled by a security guard who refuses to believe they have permission to film inside the building. The continue to film as they go up in the lift. 

Scene 73  Walter Yetnikoff’s  Office

Conversation on the speed required to get the single, Hurricane released 

Scene 74

David Blue is at the pinball machine, telling us about the early sixties in the village, when Dylan used to play harmonica all night for just one buck. 

Scene 75  Champlin Area of Montreal, December 4th or 5th 1975

While we hear both Dylan singing SHE BELONGS TO ME and Ginsberg reciting KADDISH, we see Sara Dylan leaving a church and walking down the street with a  heavy coil of rope hanging on her shoulder. Sara crosses the street to a waiting car and gives the rope to Neuwrith, He then leaves the car, and throws the rope over a high wall, we see a shoe coming over the wall. followed by a man (Harry Dean Stanton) dressed in a prisoners outfit. The  two men shake hands, and the escaped outlaw walks off, trying to look like anything other than an escaped convict. 

Scene 76  En Route To Montreal, Dec 3rd 1975

Dylan and Neuwrith are on a train, they are talking about a mysterious man with a black beard who Neuwrith claims is following them around. At one point Neuwrith turns to a stranger sitting opposite and asks if he will help if there’s trouble. When the stranger says “you can count on me”  Neuwrith replies “He seems ready to make his move, he’ll wait until dark.” 

Scene 77  On the Train

Footage of the snow covered  scenery from the train, also of Joan Baez asleep. The scene ends with the train pulling into a station. 

Scene 78  Probably Emmett Grogans House, Montreal Dec 6th 1975

Sara is in the horse and buggy that ended part one, going to an unknown destination. There is no dialogue at all. The scene cuts quickly to. 

Scene 79  IT TAKES A LOT TO LAUGH, IT TAKES A TRAIN TO CRY (filmed at Boston Nov 21st 1975 eve show)

The opening line here “I ride a mail train baby” as Dylan is onstage with the band. The footage is very close and Dylan very animated. When we pass the line “don’t the brakeman” we cut away from the stage, and with the music still playing we cut too. 

Scene  80  Champlin Area of Montreal, December 4th or 5th 1975

Dylan and Helena are getting on board of a train, at the start of the scene we see a brakeman riding on a brake van. The scene ends in a cloud of steam. 

Scene  81  October 23, 1975 Gerdes Folk City

Jack Elliott is onstage at Gerdes Folk City ( the scene with the Red Roses on the walls again) , singing “My name is Longheno de Castro, my father was a Spanish Grandee. But I won my wife in a card game, to hell with those Lords of the sea.” 

Scene 82  Champlin Area of Montreal, December 4th or 5th 1975

Lafhezio (Harry Dean Stanton) is in his cabin kissing with Joan Baez. Jack Elliott walks in and announces that a stranger took Lafehzio’s horse and left the woman in exchange. Elliott seems baffled when Lafhezio tells him it’s alright and then goes on kissing Joan. 

Scene  83  October 23, 1975 Gerdes Folk City

Further footage of Elliott  continuing the song from Scene 81. 

Scene  84  A Hotel Room

Joan Baez is in her hotel bedroom, she has washed her hair and is talking to herself about loneliness. At one point whilst saying she wishes she had someone there, she is stroking her hairdryer in a very sexual manner. On the table next to her are open packets of Marlboro cigarettes. Dylan’s I assume? As I am not aware of Joan smoking. It moves onto 

Scene 85  DIAMONDS AND RUST

Joan on stage singing her great song a stirring performance filmed very close,we hear the band but do not see them. 

Scene 86  Dreamaway Lounge, Springfield Nov 7, 1975

At Mama’s place, Baez and Dylan are sitting at the bar. At the start of the scene Dylan is smoking those Marlboro cigarettes, Joan is wearing the wedding dress, and stroking a schooner of sherry the same way she handled the hair dryer in scene  84.

Baez “what would it have been like if  we’d gotten married?” At which point she switches drinks, this could not be more obvious as the glasses are totally different shapes.

Dylan “I don’t know, I haven’t changed that much, have you?” Baez (smiling) “Maybe.” 

Scene 87  Dreamaway Lounge, Springfield Nov 7, 1975

Mama Maria Frasca gives Dylan and Baez her blessing, after first saying that Baez looks like a bridge. She turns and tells Dylan, “So whatever you do, God bless you.” 

Scene 88  Champlin Area of Montreal, December 4th or 5th 1975

Joan Baez and Dylan are walking in the snow, when Dylan sees a horse. He asks some stablehands about it’s owner. He is then directed to Lafhezio’s cabin. He drags Baez behind him up the stairs and throws her in Lafhezio’s arms, Going back outside he rides off on the horse.

This seems to be the start of the conclusion we saw previously ! (still with me? Good) it is also a variation on the start of the movie where Dylan traded T bird for a bike, once again to allow Renaldo to escape. All this too the music if If You See Her Say Hello. 

Scene 89  Probably Emmett Grogans House, Montreal Dec 6th 1975

Once again, Sara , holding a red rose is riding in the buggy, this is very brief and quickly cuts to. 

Scene 90  Champlin Area of Montreal, December 4th or 5th 1975

In the cabin Baez is talking to Lafhezio “This guy I was with, always very very impatient, always running, he didn’t know what he’s looking for. I tried to make him happy, there was no way.” 

Scene 91  ROMANCE IN DURANGO (filmed at Montreal December 4th 1975)

Starting with “hot chilli peppers (Baez was acting as a Mexican) Dylan is onstage performing this live. A very theatrical version with various band members acting lines and dancing away behind Dylan. Of Course Scarlet once more has the red rose in her hair. 

Scene 92

Sara is sitting on a couch with Sam Shepherd. She is wearing a red bathrobe. Sam “Well I’m not chasing you, I can tell you that much.” Sara “there’s no need to chase me, if I go, I go.”

Sam “That’s what I’m afraid of” Sara “What do you want me to stay for ? Why do you need me?”

Sam “I need you to perform certain magical things with me, that’s all.” Sara seems on the attack a lot here, telling Sam that he needs her “like some kind of amulet” “You’ve got everything  you need!” she exclaims.

In the background ONE TOO MANY MORNINGS is playing Dylan singing ‘It’s a restless hungry feeling, that don’t mean no one no good, when everything that I’m saying, you can say it just as good.’ 

Scene 93  Champlin Area of Montreal, December 4th or 5th 1975

Sara is walking down a street, she enters a phone booth and calls Yetnikoff’s office. 

Scene 94  Walter Yetnikoff’s Office

The scene has changed to Yetnikoff’s office. Dylan is looking at a poster on the wall with the heading “How To Survive The Bad Times” In the background a Willie Nelson version of “Time Of The Preacher” is playing. 

Scene 95  Champlin Area of Montreal, December 4th or 5th 1975

Back to the phone booth, Sara hangs up and says “well I’m going” and as she leaves you hear, but do not see Sam Shepard saying “all I can say is this has been a big  mistake.” At which the scene changes to. 

Scene 96  Quebec Nov 28th, 1975

At the Bordello, Ginsberg is talking to Sara and the other hookers. Sara is fixing her hair, there is a red rose next to her mirror. David Mansfield is talking to some of the girls, whilst Ginsberg seems to be organizing a spanking  from Anne Waldman. The scene ends with Ronson who is outside the room saying “there’s a  show in five  minutes” and throwing a glass at the door. 

Scene 97  HOUSE OF THE RISING SUN (filmed at Quebec Nov 28th, 1975)

Dylan and Rob Stoner are in a hotel-room, they are singing the final verse

Backstage Rob Stoner is arguing with Ruth Tyrangiel. Ruth is pleading with Rob to stay, Rob is walking to the gig and away from Ruth.

Stoner”I just said, don’t come between me and my music. Don’t do that, because I’m telling you, you’ll have to go.” The scene ends with a coach driving thru the night as the instrumental section begins of …. 

Scene 98  ONE MORE CUP OF COFFEE (filmed at Montreal December 4th 1975)

On stage Dylan is singing the theme song of Renaldo And Clara he has the red rose once more in his hat. A spirited performance again the sound continues but the scene changes to. 

Scene 99  Backstage

Scarlett Rivera comes to Dylan’s dressing room carrying a red rose. She sits down beside him and reads his palm. Dylan asks her if she sees anything there and she says “you have  a lot of duality in your life. Your torn by the poles.” 

Scene 100  Seacrest Motel, Falmouth Oct 29th 1975

At the Cabaret, Ginsberg is on the stage, reciting his poem, KADDISH. 

Scene 101  Dreamaway Lounge, Springfield Nov 7, 1975

Mama Maria Frasca is gently stroking Allen Ginsbergs head. After that she reads his palm. Mama “You carried quite a few crosses in your life…” 

Scene 102  Lowell, Massachusetts Nov 3rd, 1975

Ginsberg and Dylan are standing at Jack Kerouac's grave, reading Kerouac's Mexico City Blues. They talk about famous graves and Ginsberg asks Dylan, “So that’s what’s going to happen to you?” he points to the headstone on Kerouacs grave and laughs. Dylan “No, I want to be in an unmarked grave.” 

Scene 103  A Hotel Room

In a hotel room, Ronee Blakley is shaving off Ginsbergs beard, As she does so, Howard Alk is walking thru the unlit corridors carrying a lamp with foil over the top??? 

Scene 104  EIGHT MILES HIGH

Roger McGuinn onstage, this is only the instrumental end of the song.

Joan jumps on stage and starts dancing. When  the song is over McGuinn does 

Scene 105  CHESTNUT MARE

Ending with “We jumped off the edge, me holding on.” We cut too 

Scene 106  Probably Emmett Grogans House, Montreal Dec 6th 1975

Sara and Dylan are in  a bedroom. Dylan is playing guitar while Sara is talking, “And we’ll travel and you can play and I can dance. And we’ll be famous! Renaldo and Clara, maybe I should change my name huh? She hugs him and sighs, “AH Renaldo, I love you.” 

Scene 107  Quebec Nov 28th, 1975

Sara and Baez are in the Bordello polishing their fingernails There are lots of red roses here Anne Waldman (wearing an egyptian red ring??)  talks about a past lover “I threatened to expose him, I was in love.”  The scene is long with Sara and Dylan talking about love. At the end of the scene Baez asks Sara “I think there was a  time that I was involved with someone, I think maybe you were too.” 

Scene 108  Probably Emmett Grogans House, Montreal Dec 6th 1975

The woman in white arrives at a house, as Sara, but inside the house she is suddenly transformed into Joan Baez. 

Scene 109  Probably Emmett Grogans House, Montreal Dec 6th 1975

Joan knocks at the bedroom door, asking for Renaldo. Sara lets her in, reluctantly. When Dylan sees Baez, he seems startled and his mouth drops open. He then tries to ignore her, but Baez asks him if he recalls her. Sara points to Baez and asks “Who is she?” 

Scene 110  SARA (filmed at Montreal December 4th 1975)

Dylan performing the song onstage starting with the line, “Sweet virgin angel, sweet love of my life. Sara, oh Sara, radiant jewel, mystical wife.” 

Scene 111  Hotel in Toronto  Dec 1st , 1975

In the hotel lobby Shelia Shotten first drags  Hawkins and then Ronee Blakely in front of the camera, thinking they are Mr and Mrs Dylan. Ronee asks Ronnie (!) if he is with a another woman, and when asked says yes, she is Mrs Dylan. 

Scene 112

David Blue, still playing Pinball tells us “you know what a myth is? A myth is a myth!” as he says this we get a brief glimpse of him being filmed. 

Scene 113  Probably Emmett Grogans House, Montreal Dec 6th 1975

In the bedroom, Dylan is on the bed, embracing Sara. Baez is watching them which seems to bother Sara. “What’s she looking at?” Dylan tells her to ignore her, but then Baez reads out a note, “I love you, make me an appointment please at twilight, my darling.”

Sara (to an embarrassed Dylan) “Have you been lying to me? I hate lies.”

Dylan, nodding enthusiastically “So do I!”  In the background Dylan and Baez are duetting on THE WATER IS WIDE. Joan leaves and Sara appears to be questioning Dylan about her. 

Scene 114  Probably Emmett Grogans House, Montreal Dec 6th 1975

This could be classed as part of scene 113 actually, but at some point in the argument  Joan is suddenly back in the room as The Water Is Wide ends. 

Scene 115  (Lowell Nov 2nd, 1975)

Dylan and Ginsberg are walking past a row of statues, representing the stations of the cross. 

Scene 116  Probably Emmett Grogans House, Montreal Dec 6th 1975

Dylan, Baez and Sara are in the bedroom again. Sara (pointing at Baez) “Do you love her?” Baez (Pointing at Sara) “Do you love her” Dylan, “Do I love her like I love you? No. Do I love you like I love her? No.” 

Scene 117  CATFISH

Rob Stoner is on stage singing, ‘Catfish, million dollar man. Nobody can throw the ball, like Catfish can.” 

Scene 118  Probably Emmett Grogans House, Montreal Dec 6th 1975

Back in the bedroom both women are criticizing Dylan for never giving straight answers. They are even comparing their experiences with him. They now seem friendly in what is quite a reversal of the last few scenes. Sara “and he’s always been like that?” Baez “for ten years I’ve known him.”

Sara “Has he ever given you a straight answer?” Baez (looking at Dylan and smiling) “Not to my recollection.” Then they seem to cut Dylan out “What you want to know ?” he asks Joan, who replies “I’m talking to her”. As they talk Dylan says, “I’m a brother to you both”  In the background we can hear PATTY’S GONE TO LAREDO. 

Scene 119  On The Train

A brief return to the train window shots, this time with Dylan in camera too. 

Scene 120  Quebec Nov 28th, 1975

At the bordello, Ginsberg is getting a massage. Whilst Joan is telling David Mansfield that “his father is a  famous homosexual.” 

Scene 121  Backstage

Rob Stoner is backstage, made up like a  rocker of the fifties. He’s complaining to Ruth that others got rich by copying his original style. She tells him he doesn’t need it. However he leaves and as he walks away we hear the start of Suzanne “he thinks maybe he’ll trust her” 

Scene 122  SUZANNE

Joan Baez is on stage singing. 

Scene 123  Probably Emmett Grogans House, Montreal Dec 6th 1975

In the bedroom, Baez admits she was in love with Dylan to Sara,  before Baez is leaving. Sara tells her, “I hear you’re a virgin, wellw e can probably fix that.”  As Baez turns to leave she drops the rose  Dylan gives her back the red flower and looks at her in a very conspiratorial way. 

Scene 124  NEVER LET ME GO (filmed at Montreal December 4th 1975)

Dylan and Baez in extreme close up singing. “Dry your eyes, forget about tomorrow” 

Scene 125  Probably Emmett Grogans House, Montreal Dec 6th 1975

Sara is looking at a newspaper photograph of Dylan and Baez. Sara “Ah, she’s cold, Renaldo. She’s frigid. Look at her, for Christ’s sake. You don’t want her, Renaldo, she’s probably barren.”

Dylan “You don’t even know her !” Sara “I know her, we’re like sisters. 

Scene 126  Probably Emmett Grogans House, Montreal Dec 6th 1975

Baez leaves the house, as she does so Ronee Blakely and Harry Dean embrace on the stairs. 

Scene 127  Probably Emmett Grogans House, Montreal Dec 6th 1975

In the bedroom, Dylan is putting on his white make-up in front of  a mirror”  In the background SAD EYED LADY OF THE LOWLANDS is playing. Sara is telling Dylan how mysterious he is, but that she can change. 

Scene 128  Falmouth 28th or 29th October, 1975

At the Cafeteria Dominic Paulo is talking to Sloman about truthfulness. His point is that the idealists of the Sixties all got bought off and went astray, Sloman “Did you get bought off?” Paulo “No way baby, no way!” 

Scene 129  TANGLED UP IN BLUE (Filmed at Boston Nov 21st 1975 eve show)

Dylan is onstage, playing acoustic guitar while sitting on a high stool. The film concentrates on Bob’s eyes as he sings

‘All the faces I used to know,
They’re an illusion to me now
Some are mathematicians
Some are truck drivers wives.
I don’t know how it all got started
I don’t know what they do with their lives,
But me, I’m still on the road
Heading for another joint.

What more is there to say?

Scene 130  (Lowell Nov 2nd, 1975)

When Dylan and Ginsberg are leaving the cemetery, they are surrounded by children in a playground. Ginsberg asks them what God looks like. 

Scene 131

Ginsberg is dancing with Ronee, who part way thru changes to an unknown  woman, to the tune of  a piano. At the same time we hear him reciting his poem KADDISH. 

Scene 132  Montreal Railway Station December 3rd, 1975

In a washroom, at a railway station, Dylan and Neuwrith are washing their hands. They then move to the main hall, where they stand in line before the window where the tickets are sold. While Dylan buys the tickets, Neuwrith is talking Helena  Kallianiotes into coming with them. 

Scene 133

In the students dormitory members of the film crew are handing out leaflets that announce the coming of the Rolling Thunder Revue to their town. The students are also asked if they remember what they dreamed last night. 

Scene 134  JUST LIKE  A WOMAN (filmed at Cambridge Nov 20th 1975)

Dylan on stage singing. Ronee Blakely is alongside him singing the chorus. Dylan seems to be really feeling the lyrics, his facial expressions are very animated. 

Scene 135  KNOCKIN’ ON HEAVEN’S DOOR (filmed at Cambridge Nov 20th 1975)

For the only time in the film they  go straight into a second song. Dylan and McGuinn are on stage now, with the entire band, rounding off the show. 

Scene 136

In his dressing room, Dylan is lying flat on his back on the floor in contemplation. His guitar is lying beside him. In the background we hear the show still going on. 

Scene 137  Seacrest Motel, Falmouth  Oct 29th 1975

At the Cabaret, Hal Frazier is singing IN THE MORNING.

While he is singing the credits start to roll.

 
 
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