By Jack Ransom - January 19, 2025
Based on the 2015 novel Dylan Goes Electric!. A Complete Unknown begins in 1961, an unknown 19-year old Bob Dylan (Timothee Chalamet) arrives in New York City with his guitar and forges relationships with music icons on his meteoric rise, culminating in a ground-breaking performance that reverberates worldwide.
When it comes to Bob Dylan I am no avid aficionado, though I am big fan of his biggest hits (The Times They Are A-Changin’ being my favourite), I haven’t yet delved into his essential back catalogue and know little to nothing about his personal life and career trajectory. The music biopic genre is one that I have mixed opinions on. Most recently the excellent Robbie Williams CGI-chimp starrer Better Man elevated the traditional formula, Elvis was a whirlwind, albeit an overlong excessive one and both last year’s Bob Marley: One Love & Back to Black both were swiftly forgotten about as mediocre projects for iconic artists.
Whilst it may still tap into the familiar biopic tropes and take a little while to find its footing, once the stone gets rolling (I’m sorry), A Complete Unknown crafts a comfortably groovy, entertaining, ice cool rock and roll journey that showcases a pivotal and creatively driven section of Dylan’s career, as well as a spikey and intimate ‘love’ triangle with he and Sylvie Russo (Elle Fanning) and Joan Baez (Monica Barbaro). After the slightly jumpy first act, that swiftly sees Dylan enter the folk scene and firmly plant his feet in, the film switches into focusing more on Dylan’s musical impact on the slowly burgeoning folk scene, his quickfire shot to the heights of fame and how he eventually responded to all this pressure by embracing electric guitars and taking a stance at those who want him to continuously deliver Blowin’ in the Wind, to quote Dylan in the film - “They should just let me be who they don’t want me to be”). This leads to rising tensions between those who welcomed him into the folk scene and the excitement of those in Dylan’s band and his label at his bold musical statement.
The more personal introspection during this window of time doesn't shy away from the fact Dylan was (to quote Joan Baez) “Kind of an asshole.” especially when it comes to his relationships with the aforementioned Joan and Sylvie, the former matching his musical talents, delivering burgeoning confidence, and the latter a kind-hearted, artistic and tender soul that is torn between her genuine affection for Dylan, yet turned away by his relentless work ethic and conspicuous nature.
Seeing his (occasional) and their vulnerability leads to some of the film's more intimate moments (particularly one scene between he and Sylvie at the Newport Folk Festival). His admiration for and care towards his song-writing hero Woody Guthrie, of whom is suffering from Huntington’s Disease (here portrayed silently by Scoot McNairy), alongside Edward Norton’s Pete Seeger (another pivotal member of the folk scene) also lead to often intimate, quietly effective and occasionally chuckle worthy moments as Dylan and Guthrie connect through music.
Mangold has showcased his directing prowess many-a-time (Logan & Le Mans ‘66/Ford v. Ferrari being my personal favourites) and here he constructs many superb musical set pieces of Dylan either on stage in grand auditoriums, musty, bubbling clubs and the rabble rousing finale at the Newport Folk Festival. Camera coverage is efficient and tackles each burst of music in the most effective way. The studio moments, authentic costumes and production designs of the streets effortlessly transport you to the 60’s and the sound design is fantastic: from the hearty to dainty acoustic strums, the crackle of an electric amp, thumping drums and that opening organ note of Like A Rolling Stone are infectious to hear.
Chalamet truly immerses himself in the muttering, mumbling enigma that is Bob Dylan. Everything from his slow drawling tones, lean posture and lightning bolt energy on stage and effortless presence is absolutely nailed, as well as the undeniable rock star swagger that he both may or may not have been intending to portray in the ‘65 era. The rare cracks of emotion he shows feel monumental through the layered, mysterious outer exterior. Elle Fanning’s subtle, kind hearted and loving Sylvie is (appropriately) an overwhelmed and torn woman, as she clearly adores Bob, yet deep down knows he is not the one for her and she for him. Monica Barbaro is magnetic as Joan Baez, she is a witty, passionate force of nature and more than a match for Bob’s attitude. Edward Norton is a wise, kind, good spirited layer of optimism and pride in his music scene and Boyd Holbrook’s suave, mysterious and motivational Johnny Cash is welcome in his brief scenes. Scott McNairy and Dan Fogler also standout in the minor supporting roles.
A Complete Unknown finds itself in the upper echelon of music biopic features and is worth a viewing for diehard fans of Dylan and newcomers. Chalamet encapsulates the role excellently, the presentation of the musical sequences are superb, the production design and look of the film is incredibly immersive and the film elevates its familiar traits and tropes by exploring the impact surrounding Dylan rather than consistently honing in on him. Has immediately made me want to dive into his discography.
Out now in UK cinemas
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