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1、问：《镜子的另一面：纽波特民歌艺术节1963~1965》什么时候上映时间？
答：这部影片的上映时间是0年,更新时间2022-11-28 02:09:28
2、问：《镜子的另一面：纽波特民歌艺术节1963~1965》美国在哪个电视台播出？
答：《镜子的另一面：纽波特民歌艺术节1963~1965》目前只有网上如、爱奇艺、腾讯、优酷、 多鱼网等播出、没有在电视台播。
3、问：《镜子的另一面：纽波特民歌艺术节1963~1965》演员表
答：《镜子的另一面：纽波特民歌艺术节1963~1965》是由Murray,Lerner 执导，Bob,Dylan,Joan,Baez,Judy,Collins 领衔主演的剧情片 剧情 美国 。该剧于2022-11-28在腾讯、爱奇艺、多鱼网、优酷、等平台同步播出。
4、问：哪个平台可以免费看《镜子的另一面：纽波特民歌艺术节1963~1965》全集
答：免vip在线观看地址:www.babayu.org/vod/207200.html
5、问：手机版免费在线点播《镜子的另一面：纽波特民歌艺术节1963~1965》有哪些网站？那些平台搜索？
答：hao123影视、百度视频、多鱼网；请到百度 搜狗 360 神马 头条搜索。
6、问：《镜子的另一面：纽波特民歌艺术节1963~1965》评价怎么样？
Mtime时光网友：剧情紧凑有趣，不同于其他影片作品，有励志|灾难|冒险|犯罪|生活等故事情节精简不会啰里啰嗦拖泥带水，观众在电影中体验到了无尽的紧张和刺激。他们的演绎让我对每个角色都充满了期待和共鸣。影片中的角色性格鲜明，每个人物都有自己的故事和动机，令人着迷，值得一看。
丢豆网网友：这部影片是一本栩栩如生的电影，创作灵感之高。影片中绘声绘色的基础上有欢笑，有泪水，有快乐，也有悲伤..具备长辈苦口婆心语重心长的教诲(为遵重在这里我省略掉啰嗦这词)。电影励志、冒险、灾难、言情、生活种种往往是融入进去，在不知不觉中去了解这些似乎不容易被我们所发现理解的道理、以其设身处地都会是现实中教导的教诲！
豆瓣电影网友：这部电影评分:5.0佳作镜子的另一面：纽波特民歌艺术节1963~1965英语是0年美国上映的剧情片,这部剧深受观众喜爱，并在播出后获得了极高的好评和口碑,影片中的角色形象塑造鲜明，故事情节紧凑不会阿弥陀佛啰嗦不断！剧情发展合理。更微妙的是在导演Murray,Lerner的指导下,Bob,Dylan,Joan,Baez,Judy,Collins每一个演员的出色表演将剧中的角色形象栩栩如生地呈现在观众面前。无论是剧情、演员的表演还是剧中歌曲，都是该电影的亮点好看所在的美妙。
剧情介绍："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
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