p 　　 quot Bob Dylan going electric quot at the 一九六五 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 三九 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 三九 s rise through the folk scene for ourselves Watching Lerner 三九 s documentary, what 三九 s most remarkable is how much Dylan changed over the course of 三六 months the young folkie performing at the afternoon quot workshop quot at the side of Joan Baez in 一九六三 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 三九 s doing In 一九六四, Dylan all but owns Newport, and he clearly knows it he 三九 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 quot Mr Tambourine Man quot and quot It Ain 三九 t Me, Babe quot sees him moving away from the quot protest songs quot that first made his name When the audience demands an encore after Dylan 三九 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 三九 s adulation, like the rock star he was quickly becoming By the time the 一九六五 Newport Festival rolled around, Dylan 三九 s epochal quot Like a Rolling Stone quot 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 quot Maggie 三九 s Farm quot 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 quot Like a Rolling Stone quot that followed was a shambles, the song cooks despite drummer Sam Lay 三九 s difficulty in finding the groove, though if anything the division of the crowd 三九 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 三九 s no sign of it here Dylan returns to the stage with an acoustic six-string to sing quot Mr Tambourine Man quot and quot It 三九 s All Over Now, Baby Blue quot before vanishing into the night without comment While much of the audience at Newport in 一九六五 wanted the quot old quot 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 三九 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 三九 ve read about Dylan 三九 s Newport shoot-out of 一九六五, 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 三九 六0s p