A major flaw of biopics in general, and music biopics specifically, is the tendency to sand down the rough edges of the person being profiled.
For the most part, director and co-screenwriter James Mangold — along with co-screenwriter Jay Cocks — do a commendable job showing how the iconic Bob Dylan is not only talented but rather prickly and arrogant — a creative force with the talent and chutzpah to ennoble change.
The warts-and-all approach and strong performances across the board elevate this absorbing, but overly long, look at the early professional and personal life of music legend and revered groundbreaker Bob Dylan. Above all, credit goes to Timothée Chalamet’s impressive achievement in not reducing Dylan to a caricature.
Another main reason “A Complete Unknown” works is that it hones in on a pivotal four-year span in Dylan’s life. It begins with Dylan’s shuffling arrival in 1961 New York with his beloved guitar and a burning desire to write and sing songs that make a difference. He meets and befriends folk music pioneers Woody Guthrie (Scoot McNairy) — his hero who lies bedridden in a hospital due to Huntington’s Disease — and Pete Seeger (Edward Norton), a devoted colleague and musician who steers away from the wild side of fame and prefers the confines of tradition over music evolution.
It concludes with Dylan evolving into a temperamental but visionary performer who takes the stage at the 1965 Newport Folk Festival — to the dismay and outrage of organizers, including Seeger, and fans — and performs amplified versions of several songs. The re-creation of that volatile “going electric” event is the film’s crowning achievement.
But other times Mangold and Cocks don’t stick the landing, resorting to shorthand when detailing the tumultuous change that’s brewing in America and leaning too heavily on shopworn storytelling techniques such as having radio and news reports flash through those game-changing events. A more intense connection linking Dylan’s impact on music to the rebellious actions of other iconic artistic and political figures would have given “A Complete Unknown” more heft and a more solid dramatic arc.
Still “A Complete Unknown” is entertaining — particularly to music fans worshipping that period – and trots along in the footsteps of a dynamic Dylan as he becomes a force on the Greenwich Village music scene and soon finds his star rising as he puts his stamp on folk music and a variety of other musical genres.
Unlike most music biopics, Mangold blessedly devotes much of the time to its subject actually creating music and then performing it. The film’s all the better for it. Some of the best scenes occur between Dylan and longtime Woodside resident Joan Baez (an electrifying Monica Barbaro) as those two musical forces flirt, make love, perform together and squabble bitterly. The concert sequences include a brief re-creation of the first Monterey Folk Festival in 1963, where Dylan and Baez performed.
Both actors are on fire when they’re together. The challenge for an actor portraying such a distinctive superstar is to not imitate him. (Too many comedic acts have done that.) Chalamet wobbles in initial scenes, and then finds his footing — surprising us with his astonishing vocals and his ability to adopt an irascible demeanor, all but downplaying his striking good looks to become a man who doesn’t give a damn about physical appearances, except for being the epitome of someone who is anti fashion forward.
Diehard Dylan fans will likely find faults with Chalamet’s smart performance, but it deserves respect. The scenes involving Guthrie, Seeger, Baez and Dylan fuel the film. Less successful are the ones that revolve around his romance with Sylvie Russo (Elle Fanning) — a character described as a “surrogate” for the real-life late artist and activist Suze Rotolo – which ran from 1961 to 1964. Her role intends to put a human face on the awful burden fame imposes on those who are sidelined from the ones in the addictive spotlight, but it’s presented in a contrived manner, even though Fanning gives it her all. Ditto the walk-on role of Boyd Holbrook as an inebriated Johnny Cash. It detracts from the overhaul story.
“A Complete Unknown” isn’t a complete success, but it does have musical moments that soar and performances to match. It doesn’t shed any new light on who the real Dylan is, and maybe, just maybe, we will never become privy to that.
‘A COMPLETE UNKNOWN’
3 stars out of 4
Rating: R (language)
Starring: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro
Director: James Mangold
Running time: 2 hours, 21 minutes
When & where: In theaters Dec. 25
