A Complete Unknown, directed by James Mangold, is a testament to genius, not only Bob Dylan’s, but the whole of this production. Inspired by the book Dylan Goes Electric by Elijah Wald, we follow 19-year-old Bob Dylan (Timothée Chalamet), as he arrives in New York City in 1961. On his first night, he finds his way to Greystone Park Hospital to meet his idol, Woody Guthrie (Scoot McNairy). Not only does he find the ailing Guthrie, but Pete Seeger (Edward Norton) also happens to be visiting him.
When I first saw this, I thought that felt impossible, and it turns out it was. Dylan did however show up at Guthrie’s home and met him, which inspired him to write “Song to Woody.” One incredibly lucky encounter is where we first see Chalamet’s musical performance as Dylan. For such a distinct figure and voice, this is a steep challenge for any actor, and Chalamet rose to the occasion. The dedication to embodying Dylan while also learning guitar, harmonica, and to sing his songs is impressive, but the true success is seeing it all together performed live.
In just four short years, the audience sees a period of growth for Dylan and America through his quick rise to fame. Dylan’s first love, Sylvie Russo (Elle Fanning), introduces him to the political world of the 60s, which influences many of his songs (and in turn much of his success). Inspired by his actual girlfriend, Suze Rotolo, whose name was changed (only slightly) per the request of Dylan since she never wanted to be in the public eye, Sylvie is a strong lead in the film. It is easy for her to fall into just Dylan’s non-famous first girlfriend role, and I greatly appreciated the effort to make her story compelling alongside Dylan.
As an activist and artist in her own right, Sylvie was a muse for Dylan and deserves the respect she got in the film. Elle Fanning did an incredible job creating a believable character. From little reference besides the pictures from The Freewheelin’, Bob Dylan’s album cover, and Rotolo’s memoir A Freewheelin’ Time. She is a grounding and relatable figure that allows the audience to understand her emotions. Anyone who has been in a relationship at all likely will draw parallels to their own experience, and I’ll leave it at that for you to ponder.
One of the more compelling elements of this story is how Dylan is intertwined with the fear and unrest during the Civil Rights Movement and Cold War. I was somewhat disappointed this wasn’t a larger part of the film. For Dylan to have played at the same march where Martin Luther King Jr. gave the “I Have a Dream” speech is such a monumental moment and shows his influence, especially in the political world. From my perspective, for a movie that is exploring genius and how it affects your relationships, it could have easily showcased another genius whose words would also stand the test of time. On the other hand, I do think it is potentially a stronger representation of Dylan’s personality. To see something so impactful and powerful as just another day or just one more trophy on the shelf sounds like Dylan to me. This march may have also been too much to dive into and do justice in the time allotted for the film. Needless to say, it could be a whole film in itself, and I would be eager to see it.
If there is one thing this film blew me away with, it is the live performances, and Barbaro’s is no exception. Joan Baez (Monica Barbaro) is introduced at her show at Folk City, and I found myself resisting clapping because I felt like I was in this iconic venue and not my local AMC theater. Her voice is breathtaking.
Baez has such a distinct and pretty voice (almost too pretty), and Barbaro should be incredibly proud of the outcome of her training. While the tension between Dylan and Baez is undeniable, we don’t see them officially get together until one fearful night during the Cuban Missile Crisis. This anxiety helps justify the action more so than their real life tempestuous relationship.
Mangold and the whole cast have mentioned in just about every press tour interview that this is not supposed to be an accurate, exact recount of events. While I don’t think any movie besides a documentary should be assumed to be accurate, it is important to note this is a dramatization. If you are upset about a drama not being 100% accurate, then I say listen to Dylan and “don’t criticize what you can’t understand.”
As Dylan is performing for the first time at the Newport Folk Festival, I began to truly understand and appreciate all the little details. The diamond stage sign, vintage round microphone, Baez’s pleated dress, Dylan’s somewhat long and uneven fingernails…yup, fingernails, look it up. The details in this film are incredible.
Costume designer Arianne Phillips, who also is known for her work on Once Upon a Time in Hollywood and Don’t Worry Darling, created an incredible story with the wardrobe alone. Phillips also tells The Art of Costume in an interview, “We’re not aiming for a one-to-one recreation but rather an interpretation that captures his essence.”
Many outfits and accessories throughout the film were iconic, especially Dylan’s unbuttoned flat cap when he first arrives and his all black Ray-Bans as he becomes more famous. I loved the journey from baggy, tattered midwest clothes to sleek leather and slightly more colorful outfits (and the bold green polka dot shirt, of course.) Not to mention the dressing of over 5,000 extras in period clothing, which if done poorly can easily take you out of the story.
Throughout the film, we are also seeing the work of the incredible production designer, François Audouy, and his team who recreated modern day New Jersey streets into 1960s New York. Greenwich village staples like Cafe Wha? and Music Inn (which are still around today) stand out on screen. There is too much praise to sing for the details in Dylan’s apartment, Guthrie’s hospital, performances in theaters, The Viking Motel, and everywhere else.
As we reach the end of this story, which in no way is your typical cradle-to-grave biopic, Dylan is recording Highway 61 Revisited and breaking out from the box everyone wants to put him in as a folk singer. He is having fun and gets to play in ways the average person might find arguably silly, such as including a children’s toy whistle for the distinct opening to the song “Highway 61 Revisited.” Dylan has a vision few of us are freaky enough to bring to life, but thank God (or maybe Bob alone) he has seemingly endless songs flowing out of him.
At his final Newport festival, we see Chalamet and Barbaro’s addicting rendition with beautiful harmonies for “It ain’t me Babe.” I would be lying if I said this hasn’t been on repeat non-stop since watching this movie. During the performance, which was again recorded live on set, there is so much to the story of Dylan and Sylvie, Dylan and Baez, and Dylan and fame. We see such an intimate performance despite a song that essentially serves as a dig at their dysfunctional relationship, which ultimately drives Sylvie away for good.
The expert camerawork from Mangold and Director of Photography, Phedon Papamichael, showcases the feeling of being a performer on a stage. Regardless of the hundreds of people listening, it feels like Dylan and Baez are all alone. Rarely do we even see the crowd blurred if not completely blocked out by the angle or a light. This choice is featured in almost every performance but especially for these duets. Dylan’s relationship with fame is so different from Baez’s clean and perfect image. As she shoots him a middle finger in the wings, we get another glimpse into her as a real person on stage, not just the public figure we know. One song holds so much weight in the story and is portrayed in a way we don’t see as much in other musicians' stories.
Dylan is not impacted by fame the way we see from other stars that feed off of the approval of the public. From the first newspaper review he doesn’t want to read, to refusing to play a popular song at a show, to going electric at the folk festival, someone to fit the mold ain’t him, babe. We see Dylan going electric in his bold performance at Newport proving he is not a complete unknown anymore, even as he is booed off stage. We see Dylan closing this chapter in his life with a final visit to Gutherie. As he leaves the hospital, we hear Gutherie’s song “Dusty Old Dust”, featuring the seemingly innocent lyrics “so long it’s been good to know ya” in a much darker tone.
Despite songs like “Blowin’ in the Wind”, “Masters of War”, and “The Times They Are A-Changin” being written over 60 years ago, they are just as applicable right now. This film is landing at a time in America where we are again finding ourselves with unstable politics and a need for a uniting force. It seems so many of the great artists come at a time where a generation needs a voice. Dylan puts so simply into poetry how so many young people and activists still feel today.
I must admit before this movie, I was not a huge Dylan fan and only knew the top hits, but upon my research, I have found how truly incredible his lyrics are. This film leaves me questioning if Dylan will inspire the next generation’s uniting music voice. If someone shows up at his front door, I’ll be excited to hear their music. If you say you’re looking for something to protect and defend that won’t let you down, look no further than A Complete Unknown.
If you don’t trust my opinion, take it from the BAFTA, Golden Globes, Critic’s Choice, and just about every awards show this season. So far, A Complete Unknown has won multiple awards, including Best Supporting Actress (Elle Fanning) from the National Board of Review and Best Actor (Timothée Chalamet)and Best Supporting Actor (Edward Norton) from the Boston Society of Film Critics. It was also nominated for three Golden Globes, including Best Picture - Drama, Best Leading Actor - Drama, and Best Supporting Actor in a Motion Picture (Edward Norton), but did not win any of these categories. Why ask for the moon when we have the stars? After Timothée Chalamet became the youngest actor to win Best Actor at the SAG awards, I am eagerly awaiting the Oscars in March. Regardless of the awards, this film has clearly struck a chord (no pun intended) with many people, including myself, and I look forward to watching Mangold’s future projects.
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