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Bob Dylan is captured on-screen as he never would be again in this groundbreaking film from D. A. Pennebaker (Monterey Pop, Company). The legendary documentarian finds Dylan in London during his 1965 tour, which would be his last as an acoustic artist and marked a turning point in his career. In this wildly entertaining vision of one of the twentieth century’s greatest artists thrust into the spotlight, Dylan is surrounded by teen fans; gets into heated philosophical jousts with journalists; and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price. Featuring some of Dylan’s most famous songs, including “Subterranean Homesick Blues,” “The Times They Are A-Changin’,” and “It’s All Over Now, Baby Blue,” Dont Look Back is a radically conceived and shot portrait of an American icon that has influenced decades of vérité behind-the-scenes documentaries. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES • New, restored 4K digital transfer, approved by director D. A. Pennebaker, with newly restored monaural sound from the original quarter-inch magnetic masters, presented uncompressed • Audio commentary from 1999 featuring Pennebaker and tour manager Bob Neuwirth • 65 Revisited, a 2006 documentary directed by Pennebaker and edited by Walker Lamond • Audio excerpt from an interview with Bob Dylan in the 2005 documentary No Direction Home, cut to previously unseen outtakes from Dont Look Back • New documentary about the evolution of Pennebaker’s filming style, from his 1950s avant-garde work to his ’60s musical documentaries, including an excerpt from the filmmaker’s footage of Dylan performing “Ballad of a Thin Man” during his 1966 electric tour • Daybreak Express (1953), Baby (1954), and Lambert & Co. (1964), three short films by Pennebaker • New conversation between Pennebaker and Neuwirth about their work together, from Dont Look Back through Monterey Pop (1967) and beyond • Snapshots from the Tour, a new piece featuring outtakes from Dont Look Back • New interview with musician Patti Smith about Dylan and the influence of Dont Look Back in her life • Conversation between music critic Greil Marcus and Pennebaker from 2010 • Alternate version of the film’s “Subterranean Homesick Blues” cue card sequence • Five uncut audio tracks of Dylan songs from the film • Trailer • PLUS: An essay by critic and poet Robert Polito

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This holy grail for both documentary and theater aficionados offers a tantalizingly rare glimpse behind the Broadway curtain. In 1970, right after the triumphant premiere of Stephen Sondheim's groundbreaking concept musical Company, the renowned composer and lyricist, his director Harold Prince, the show's stars, and a large pit orchestra all went into a Manhattan recording studio as part of a time-honored Broadway tradition: the recording of the original cast album. What ensued was a marathon session in which, with the pressures of posterity and the coolly exacting Sondheim's perfectionism hanging over them, all involved pushed themselves to the limit-including theater legend Elaine Stritch, who fought anxiety and exhaustion to record her iconic rendition of "The Ladies Who Lunch." With thrilling immediacy, legendary filmmaker D. A. Pennebaker offers an up-close view of the larger-than-life personalities, frayed-nerve energy, and explosive creative intensity that go into capturing the magic of live performance. BLU-RAY SPECIAL EDITION FEATURES New, restored 4K digital transfer, supervised by Chris Hegedus and Nate Pennebaker, with uncompressed monaural soundtrack New audio commentary by composer-lyricist Stephen Sondheim Audio commentary from 2001 featuring director D. A. Pennebaker, actor Elaine Stritch, and Broadway producer Harold Prince New conversation among Sondheim, orchestrator Jonathan Tunick, and critic Frank Rich New interview with Tunick on the art of orchestrating, conducted by author Ted Chapin Never-before-heard audio excerpts from interviews with Stritch and Prince, conducted by D. A. Pennebaker and Hegedus in 2000 "Original Cast Album: ‘Co-Op,'" a 2019 episode of the TV series Documentary Now! that parodies the film Reunion of the cast and crew of "Original Cast Album: ‘Co-Op'" recorded in 2020, featuring director Alexander Buono; writer-actor John Mulaney; actors Rénee Elise Goldsberry, Richard Kind, Alex Brightman, and Paula Pell; and composer Eli Bolin English subtitles for the deaf and hard of hearing PLUS: An essay by author Mark Harris Top About this item

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On April 30, 1971, a standing-room-only crowd of New York’s intellectual elite packed the city’s Town Hall theater to see Norman Mailer—fresh from the controversy over his essay “The Prisoner of Sex” and the backlash it received from leaders of the women’s movement—tangle with a panel of four prominent female thinkers and activists: Jacqueline Ceballos, Germaine Greer, Jill Johnston, and Diana Trilling. Part intellectual death match, part three-ring circus, the proceedings were captured with crackling, fly-on-the-wall immediacy by the documentary great D. A. Pennebaker and a small crew, with Chris Hegedus later condensing the three-and-a-half-hour affair into this briskly entertaining snapshot of a singular cultural moment. Heady, heated, and hilarious, Town Bloody Hall is a dazzling display of feminist firepower courtesy of some of the most influential figures of the era, with Mailer plainly relishing his role as the pugnacious rabble-rouser and literary lion at the center of it all. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restoration, supervised by director Chris Hegedus, with uncompressed monaural soundtrack • New interview with Hegedus • Audio commentary from 2004 featuring Hegedus and author Germaine Greer • Footage from a 2004 celebration of the film, which brought together participants Greer, Jacqueline Ceballos, and Jill Johnston and directors Hegedus and D. A. Pennebaker • Appearance from 1971 on The Dick Cavett Show by author Norman Mailer, promoting his book The Prisoner of Sex • Archival interviews with Greer and Mailer • English subtitles for the deaf and hard of hearing • PLUS: An essay by film critic Melissa Anderson