3½ stars (out of 4)
Director: James Mangold (Girl, Interrupted, Walk the Line, Ford v Ferrari)
Starring: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro
Rated: R for language
Available: In theaters
About 45 minutes into A Complete Unknown, Joan Baez tells Bob Dylan he’s “kind of an asshole.” As the scene plays, I suspect most viewers will agree because director James Mangold avoids the reverential style so common in weaker celebrity biopics. Mangold’s vision of young Dylan, portrayed by Timothée Chalamet, is stormy, visceral, and occasionally dark. Dylan is the focus of the story but not the hero, and that’s what makes the film great.
The picture follows Dylan from his days as a fledgling, traditional folk artist to his groundbreaking decision to introduce electric guitars into his act, upsetting traditionalists and cementing his reputation as a musical disruptor. A Complete Unknown is more crib sheet than history lesson because Mangold and co-screenwriter Jay Cocks aren’t overly precious with the facts. Rather than put viewers within Dylan’s skin, they seem satisfied to capture the icon’s spirit, and they do so beautifully … at least in the eyes of this casual admirer.
Dylan’s decision to play with a rock band (instead of merely accompanying himself with acoustic guitar) at the 1965 Newport Folk Festival is a landmark moment in pop culture history. The legend maintains that Dylan infuriated folk purists, leaving both the Newport audience and promoters irate. Although there was backlash, multiple sources indicate that the scope has been overexaggerated.
Mangold isn’t concerned with the exaggeration, nor does he spend significant time addressing the fact that Dylan may have been a drug addict during this period. Instead, the director meditates on the musician’s place as a Woody Guthrie disciple, his stormy relationship with women, and the rocky path that led him from anonymity to superstardom. Despite its historical liberties, the film tells a wonderful story in powerful fashion.
Mangold (Ford v Ferrari, Logan, 3:10 to Yuma, Walk the Line) gets much of the credit for the movie’s success, but Chalamet deserves at least as much. Heartthrob status aside, the young actor is a remarkable talent, and he’s never been better than here. Not only does he capture Dylan’s eccentric hipness, his vocals are used throughout the film, and they are spot on.
Also wonderful is Edward Norton, who gives a beautiful reading of folk star Pete Seeger. Although Seeger was viewed as subversive because of the political content in his music, he never mustered the ultra-cool aura of Dylan. Norton’s vision of Seeger is kind, fatherly, and supportive of young Dylan, but also disappointed when the latter abandons the traditional folk scene. It’s a masterful portrait, right down to way Norton phrases all dialogue.
Other noteworthy performances include Monica Barbaro’s reading of Baez and Elle Fanning’s performance as Sylvie Russo. The latter character is a fictional stand-in for Suze Rotolo, one of Dylan’s muses in the early 1960s. Both actresses do nice work, but they are obscured by the glow surrounding Chalamet. This is mostly because the script uses them primarily to demonstrate that Dylan had relationships during this era (reportedly many), but that they were secondary to both music and his desire to live life on his own terms.
A Complete Unknown might have been better had Mangold and Chalamet dug deeper into Dylan’s psyche, showing viewers the inner thoughts of a once-in-a-generation talent. But that’s probably asking too much. After all, one of the most interesting things about Dylan is his reclusive reputation.
Sometimes it’s better to maintain a myth than dissect it. Mangold gets that, and he has delivered a wonderful new work to further the Dylan folklore.
Author Bio:
Forrest Hartman is Highbrow Magazine’s chief film critic.
For Highbrow Magazine