‘A Complete Unknown’ Review: An Electric Timothée Chalamet Hoists James Mangold’s Bob Dylan Biopic Above Its Flaws

by

As a lifelong fan of Bob Dylan’s music, I must say that “A Complete Unknown” is a film that truly captures the spirit and essence of the era. Growing up in the 60s, I remember the folk scene much like how it’s portrayed here – a vibrant, pulsating movement pushing for change at a pace unseen before.

In “Walk the Line,” released in 2005, James Mangold presents an engaging portrayal of Johnny Cash’s journey to discover his unique sound and falling in love with June Carter. The movie, featuring excellent acting and captivating musical sequences, adopts a conventional biographical approach, smoothing over many of the intricacies of the iconic Man in Black’s life. Mangold’s latest film, “A Complete Unknown,” follows a similar pattern by exploring Bob Dylan’s rise from the Greenwich Village folk music scene during the early ’60s. While it shares many positive aspects, it also has its own set of weaknesses. However, Timothée Chalamet‘s outstanding performance in the lead role, which is both captivating and electrifying, is not among those weaknesses.

Any fan of Bob Dylan or someone who appreciates the music emerging from New York City during the early 60s – a decade marked by turbulence – will find great enjoyment in Mangold’s meticulously crafted film. The depiction of that era is spot-on, and the numerous music performance scenes are incredibly immersive, greatly enhanced by the lead actors skillfully singing their parts.

In this portrayal, Chalamet deeply immerses himself in Dylan’s songs. His voice, rough, nasal, and gravelly yet brimming with passion, fury, and dry wit, is remarkably similar to the original while subtly reflecting his own character. This suggests a more harmonious fusion than an imitation, bordering on symbiosis.

It’s evident that Chalamet has delved deeply into understanding the links between the lyrics and the singer-songwriter’s emotional state during composition. There are striking similarities, too, regarding the swift rise to fame at a tender age experienced by both artists. This portrayal seems to be one of his most impactful since “Call Me by Your Name”. Impressively, neither the film nor Chalamet shy away from depicting the rough edges of a creative genius, whose inconsiderate behavior towards those around him often clashes with the empathy found in his music.

Edward Norton, showcasing his exceptional acting skills, brings the same captivating charm to Pete Seeger’s music. He portrays the banjo-playing folk trailblazer with an unshakable composure, radiant warmth, and a heartwarmingly generous spirit that resonates throughout his singing. This authenticity is evident even during his spontaneous rendition of Woody Guthrie’s “This Land is Your Land” on the courthouse steps after being found guilty in a contempt of Congress case due to his refusal to answer questions before the House Un-American Activities Committee.

This conscientious man, at his core, genuinely rejoices in Dylan’s youthful triumphs, despite their rapid overshadowing of his own achievements. His generally subdued reaction to circumstances that others might view as treachery, stirs within us a sense of shared pain.

In a supporting performance, Boyd Holbrook skillfully portrays Johnny Cash’s deep, rough vocal tone during a time when his sound was a blend of rock ‘n’ roll and country music. He also embodies the raw masculinity and outlaw image that Cash is known for, viewed through the lens of self-mythology in his songs. The friendship between Johnny and Bob develops from Bob’s admiration for him, a well-established artist in the limelight since the late ’50s, whom he sees as a fellow rebellious spirit.

Among the standout performances, it’s the relatively new member of the group, Monica Barbaro (from Top Gun: Maverick), who shines as Joan Baez. Before Dylan emerged, Baez was already a well-established figure in the music industry. She played a crucial role in boosting Dylan’s career. Barbaro’s singing is ethereal, her voice resonant, crisp, and evocative. She portrays her character with the poised confidence of a woman who remains true to herself, even — or perhaps especially — when she finds herself in an unfulfilling relationship with Bob.

In the film, the duets between Barbaro and Chalamet are memorable musical highlights, as Joan’s evident joy in interacting with both of them and the audience is palpable. However, as the story progresses, Bob’s involvement becomes more self-centered, challenging Joan’s patience. Those who watched the 2023 documentary about Baez, titled “I Am a Noise“, might recognize the folk legend’s mixed feelings towards Dylan, admitting that his music provided her with fresh political perspective, yet leaving her with some reservations.

There was uncertainty if a biographical movie backed by Jeff Rosen, Dylan’s long-term manager, might soften the more controversial aspects of the subject. However, it’s important to note that this is not what the filmmakers have done. Instead, they’ve chosen to portray the subject truthfully and accurately.

Joan directly expresses her displeasure towards Bob when he critiques her writing bluntly, saying it’s similar to an oil painting at a dentist’s office. His response shows no remorse or regret about his words. A scene later where she evicts him from her Chelsea Hotel room after an unexpected visit and watches as he withdraws into himself is quite striking.

The detachment in this screenplay by Mangold and Jay Cocks seems to lack the emotional depth one would expect at the heart of it. Crafting a film about a mysterious figure like Bob Dylan is undeniably difficult, and the writers should be commended for not attempting to unravel his enigma. However, their decision not to explore Dylan’s mystery might also give the impression that they are indifferent or disinterested.

He’s an angry young man who wears his sudden fame uneasily. “It snuck up on me and pulverized me,” Bob writes in a letter to Johnny. The film loses some steam and becomes slightly repetitive in the midsection as that scenario of adulation and surly resistance to it plays out over and over, with Bob tooling around the Village on a motorcycle, hiding behind sunglasses even at night and making a quick exit whenever he’s spotted by excitable fans.

The film’s title appears to be misleading in several ways. Firstly, Bob is relatively unknown for the majority of the movie, as he just arrives in New York City with a guitar case and a backpack. For two hours, we barely get to know him despite his charisma and talent, which are evident through Timothée Chalamet’s performance.

It’s challenging to predict the reaction of people unfamiliar with Bob Dylan’s music or unwilling to embrace his enigmatic personality, who might find a film centered around such a distant character off-putting, especially when it comes to the concept of a “difficult genius.

This film primarily focuses on a character whose inner struggles are predominantly concealed, much like a secret hidden within the fortress of a solitary individual. The storyline is derived from Elijah Wald’s book titled “Dylan Goes Electric!“. Although the confrontation with the organizers of the Newport Folk Festival, particularly Seeger, who were displeased when Bob Dylan opted to perform electric music instead of sticking to acoustic guitars in 1965, could seem like the central conflict, it appears late in the storyline and is almost like a concluding note, not given enough attention to provide substantial weight to the movie. Instead, the film’s emotional intensity is more effectively conveyed through the music, particularly during performances of “Maggie’s Farm” and “Like a Rolling Stone”, as chaos erupts among the traditionalist crowd at Newport.

In the character of Chalamet, there’s an irresistible magnetism, yet a significant portion of Dylan’s traits are revealed by his questionable accountability towards the two exceptional women who strive to connect with him, despite his actions failing to warrant their affection.

Joan is included as well, but particularly Sylvie Russo stands out, skillfully portrayed by Elle Fanning. She embodies the delicate vulnerability of a woman who seems destined for heartbreak from the beginning. Despite cohabiting with him, Sylvie continually voices her disappointment that she hardly knows Bob, as he reveals little about his past before moving to New York.

According to activist and artist Suze Rotolo, Sylvie is a crusader for freedom who was actively engaged in the civil rights movement. Her strong political beliefs sparked a passion in him for writing songs about these very issues.

Prior to this moment, Bob had been recording traditional folk tunes that weren’t profitable for a label disregarding his unique compositions. However, Sylvie seems to have ignited a spark within him, leading to an extraordinary creative phase which produced masterpieces such as “Masters of War”, “A Hard Rain’s a-Gonna Fall”, and “The Times They Are a-Changin'”, making him the standard-bearer for his generation.

In the movie “A Complete Unknown, it’s uncertain if Suze/Sylvia or Joan had any impact acknowledged. However, Bob’s complex emotions towards relationships at that time might be seen in the contrast between the longing romantic tone of “Girl From the North Country” and the blunt goodbyes of “It Ain’t Me Babe” and “Don’t Think Twice, It’s Alright.” Yet, the filmmakers’ empathy towards Sylvie, portrayed beautifully by Fanning in a climactic scene with raw emotional depth, helps to balance things out.

There’s a softness in Bob’s (Scoot McNairy) visits to his idol, Guthrie (Woody), who was bedridden by Huntington’s disease and unable to speak by 1961. One of the most touching moments is when Woody expresses his desire to hear something from the promising young folk singer, and a slight, joyful smile spreads across Guthrie’s thin face as Bob begins the heartfelt tribute “Song for Woody.

In a subsequent emotionally charged moment, he performs “Blowin’ in the Wind” for Guthrie. Near the end of the movie, he also sings “So Long, It’s Been Good to Know Yuh,” which functions as both a farewell to his sick friend and a renunciation of his folk music heritage.

As a gamer, I’d rephrase that as: “Wrapping up my rebellious electric set at Newport, I switched things up and went acoustic with ‘It’s All Over Now, Baby Blue,’ signifying a clear departure from my musical past.

As a gamer, I’ve found myself captivated by the countless movies exploring Dylan’s music and his complex dance with fame. From documentaries like D.A. Pennebaker’s ‘Don’t Look Back’, Martin Scorsese’s ‘No Direction Home’, and the docu-fiction blend of ‘Rolling Thunder Revue’; to Dylan’s introspective self-reflection in ‘Renaldo and Clara’; Todd Haynes’ experimental multi-portrait, ‘I’m Not There’; even a traditional biopic hasn’t managed to unravel the enigma that surrounds him.

A Complete Unknown excels notably by immersing itself deeply in the music and environment that birthed it, echoing the vibrancy of the Village folk scene as depicted in the Coen brothers’ movie, Inside Llewyn Davis. This scene, though fictional, remains lively and populated much like it was during its real-life heyday. The basements, coffeehouses, record stores, and student hangouts around MacDougal Street – faithfully recreated in Jersey City – throb with the energy of a youth culture that was carving out space for itself and advocating for change at a rate faster than what the Eisenhower era could accommodate. The spirit of neo-Bohemian progressivism found its expression through folk music.

As a passionate admirer, I’m sharing my take on how Mangold’s cinematographer, Phedon Papamichael, masterfully employs digital cameras with classic anamorphic lenses to bring forth the tactile qualities, the ambient light, and the Kodachrome hues reminiscent of that era. The visual style of this movie bears a striking resemblance to the work of Columbia Records staff photographer Don Hunstein, with certain scenes seemingly breathing life into his legendary cover shot for The Freewheelin’ Bob Dylan.

The sets designed by production designer François Audouy have the intricate, multilayered charm reminiscent of pre-gentrification hipster neighborhoods, such as Dylan’s cluttered 4th Street apartment and Baez’s stylish yet bohemian room at the Chelsea Hotel. The re-creation of the studio at Columbia where Dylan recorded his iconic songs is also steeped in history. In addition, outdoor festival scenes are depicted as lively gathering spots with minimal barriers between artists and audiences, offering a stark contrast to today’s commercialized Coachellas. Lastly, Arianne Phillips’ costumes provide an essential touch of period accuracy without ever appearing tacky or kitschy.

Despite any structural, plot, or character clarity issues, the film “A Complete Unknown” delivers compelling rewards through its authentic performances and electrifying musical sequences. For those who appreciate Bob Dylan’s music and the overall period, these aspects might be more than satisfying.

Read More

2024-12-10 20:27