A Complete Unknown, 2024.
Directed by James Mangold.
Starring Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Scoot McNairy, Boyd Holbrook, P.J. Byrne, Scoot McNairy, Dan Fogler, Will Harrison, Charlie Tahan, Jon Gennari, Norbert Leo Butz, Michael Chernus, Joe Tippett, Kayli Carter, Laura Kariuki, Eli Brown, Will Price, Eriko Hatsune, Alaina Surgener, Eric Berryman, Stephen Carter Carlsen, Andy Talen, Riley Hashimoto, Malcolm Gold, and Ryan Harris Brown.
SYNOPSIS:
At the Newport Folk Festival in 1965, a young Bob Dylan shakes up his act on the folk music scene by going electric and siring rock as the voice of a generation – defining one of the most transformative moments in 20th-century music.
On more than one occasion in director James Mangold’s Bob Dylan biopic, A Complete Unknown, the cooly, enigmatic folk singer recounts stories about running away to join the circus, where he not only learned some guitar tips and techniques but also came up with the theory that, much like circus performers, singers also have to be “freaks” to gain any traction or momentum, especially one playing on stage.
Embodied here by heartthrob Timothée Chalamet (an irrefutably phenomenal transformation regarding appearance, singing voice, mannerisms, and capturing that mystique), this film is compelling in a similar sense in that one becomes so absorbed in the acting (and not just from Timothée Chalamet, but several other actors also playing musicians, which also includes a James Mangold/Johnny Cash mini-reunion) that it doesn’t always register that the narrative isn’t exactly doing much with these people as characters. One could also argue that such is the point when it comes to Bob Dylan, but everyone from his significant others to acquaintances and friends also feels underwritten.
At one point, one wishes James Mangold had made a biopic about Monica Barbaro’s Joan Baez instead, or at the very least picked a lane in either focusing on Bob Dylan’s on-off relationship with Elle Fanning’s Sylvie Russo or the gradually increasing artistic friction between him and folksinger Pete Seeger (Edward Norton.) For those unaware, such turmoil came about when Bob Dylan began expressing an interest in moving away from folksy acoustic guitar music to electronic, which would be a blow to a genre undergoing a popularity surge because of him. It’s also one of many conflicts that drove a wedge between him and his love affair with Joan Baez.
In case it’s not already apparent, this is also one way of saying James Mangold and screenwriter Jay Cocks aren’t afraid to dig into the reality that Bob Dylan was an unlikable jerk back then, seemingly confused about what he wanted from a partner. When around political activist and painter Sylvie Russo, he can tell eyebrow-raising stories about running away and joining the circus without being questioned. She isn’t happy that the man she is dating refuses to open up about his past or who he is, but she is also quick to shut down anyone to suggest that there is something wrong with this, most notably in a scene where a friend snoops through a photo album and notices that “Dylan” might not even be his real last name.
The dynamic with Joan Baez is much different; she is typically quick to ask questions or call him out on potential tall tales, such as the validity of his circus experience and stories. She also seems attracted to him as he pushes her to become an even greater singer than she already is. Nevertheless, their collaborations together (with the actors apparently doing the singing in a damn-fine-sounding movie) are blissful to the ears. Even if aspects of A Complete Unknown take pages from the usual musician biopic clichés, there is a jukebox musical aspect (something that only widens when Bob Dylan becomes penpals with one of his heroes, Johnny Cash, as played by Boyd Holbrook here) alongside creative moments that allow song lyrics to essentially become actual dialogue between characters that cinematically hums and keeps the film briskly moving along even at 141 minutes.
Across that length, six years in the life of Bob Dylan are covered, which is a welcome reprieve from the onslaught of misfires ambitiously misguided into taking the birth-to-death route, yet still is probably too much considering how much feels rushed. Bluntly put, the entire characterization of Sylvie is embarrassingly depicted, often seen holding back overwhelming internal emotions watching Bob perform with Joan, either slowly becoming aware of what’s going on or deciding that she can no longer go along pretending she doesn’t care or know about their rocky love.
What’s more insulting is that the film doesn’t take the time to establish much about the relationship between Bob and Sylvie or why she would put herself through such mental torment before or as he skyrockets to fame. That goes doubly so upon reiterating once again that Bob Dylan is portrayed as an emotionally distant jerk here, something that only multiplies the more famous he becomes.
During a brief stint in the second half, Timothée Chalamet is occasionally unconvincing at playing bad boy famous and self-absorbed. However, he is helped out by cinematographer Phedon Papamichael’s motorcycle-riding photography (no surprise considering he was the DP on Ford v Ferrari), which gives a slight boost in coolness. It’s only a short stretch where Timothée Chalamet’s acting comes dangerously close to falling into spoof territory; he is otherwise tremendous in the role.
It is clear why James Mangold chose these specific six years, though, as A Complete Unknown, working against biopic clichés, explores the line between artistic integrity, art made for the artist as opposed to what the masses want or think they want, and trying to stay true to that art while also experimenting and embracing change where others are tethered to a past swiftly making them relevant. It’s a middle finger to anyone who boxes artists into one genre or believes that’s how art should be. It’s also a middle finger to anyone who expects well-written characters and story beats that aren’t heavily reliant on playing the hits. Timothée Chalamet justifiably deserves applause, and Monica Barbaro nearly upstages him; the rest of A Complete Unknown is a rolling stone all right, rolling downhill.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
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