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In "I'm Not There," Haynes and co writer Oren Moverman take this phentermine on line as a structuring conceit: Here, Dylan is a young African American boy named Woody Guthrie (Marcus Carl Franklin), who, like his namesake, carries a guitar case labeled "This Machine Kills Fascists"; he is also Billy the Kid (Richard Gere), a Western style outlaw trying to save Riddle, Missouri, from being demolished to make room for a freeway; he's the androgynous rock star Jude (Cate Blanchett) who turned his back on his fans and on the idea that music can make a difference; he's the philandering movie star Robbie (Heath Ledger); he's the Rimbaud style poet (Ben Whishaw); he's the born again pastor (Christian Bale). "I'm Not There" sees Dylan as a reflection of, as well as a reaction to, the times through which he lived, and also as a walking anachronism. In taking the Dylan phentermine on line as its starting point, the film becomes more about our need for that phentermine on line why Dylan mattered then, why he matters today than an attempt to either reify or deconstruct the Dylan myth. Like Haynes's last two films, " Far From Heaven " and " Velvet Goldmine," "I'm Not There" is a semiotic exercise masquerading as a period piece. Rather than simply re creating its own version of the past without quotation marks, it manipulates images, costumes, music, and a kaleidoscopic assemblage of cinematic references and styles to evoke and interpret a cultural moment. This heady stylistic pastiche is nevertheless grounded by fleeting moments of sincerity. An older woman urges Woody to write music about his own time with subtle moral conviction. Jude is violently confronted by a fan who feels betrayed by an idol. Robbie's wife (Charlotte Gainsbourg) is first enchanted by his budding genius, then alienated by his philandering and the misogynist claptrap he spews over wine with friends. "I'm Not There" is sometimes too intellectually tidy (Rimbaud) or frustratingly diffuse (Billy the Kid), yet often remarkably adept (Woody Guthrie). Despite the built in structural challenges, editor Jay Rabinowitz gives each segment adequate time to breathe by downplaying the crosscutting, and there's a tremendous level of craftsmanship on display throughout, from the expert cinematography by Ed Lachman to the standout performances from Blanchett, Gainsbourg, and Ledger. Some viewers are likely to pour over "I'm Not There," performing studious exegesis, deciphering and perhaps denouncing Haynes's version of the Dylan myth, but that misses the point. This is a movie, not a riddle or dissertation, and an invigorating one at that a thrilling jolt of pure cinema, clearly the product of an inquisitive mind and a genuine heart. [Chris Wisniewski is a Reverse Shot staff writer, a regular contributor to Publishers Weekly, and manager of education programs at the Museum of the Moving Image.] ... phentermine on line