Rating: 3 out of 4
Running Time: 141 minutes
This feature film from Searchlight Pictures opens exclusively in theaters on Wednesday, December 25.
As we all know, Robert Zimmerman aka Bob Dylan is a legendary musician and songwriter responsible for some of the greatest tunes ever written. He has never stopped releasing new material and continues to tour today. In fact, he just took a holiday break from the road only last month. So, it’s a bit odd to see a biopic appear at theaters, especially when his career and life in the public spotlight is far from over. A Complete Unknown focuses on his rise to fame and controversial (at the time) decision to change from performing material acoustically to electric and with a backing band.
The story begins with a young Bob Dylan (Timothée Chalamet) leaving the University of Minnesota to visit his musical idol Woody Guthrie (Scoot McNairy), bedridden from Huntington’s disease. There, he meets another folk legend and protest singer Pete Seeger (Edward Norton), who recognizes Dylan’s talent and encourages his development.
After settling in New York, making big progress in his career, and headlining major events like the Newport Folk Festival, Dylan’s star rises. This leads to difficulties in his personal life with girlfriend Sylvie Russo (Elle Fanning) and a tumultuous, on-again off-again romantic relationship with folk singer Joan Baez (Monica Barbaro).
Looking to change his sound, he begins rebelling against some of the folk community and considers plugging in amplifiers with the release of the 1965 LP Bringing It All Back Home that embraced both folk and rock.
Watching a movie about the artist made with the participation of the subject means that the story isn’t going to go deep into the depths or get too critical of Dylan and his choices. There are repeated references to childhood musical influences and interesting tidbits about his past as a carnival performer, but we are kept at a greater distance than anticipated. Both the character and the actual subject aren't particularly willing to give away too much about their inner life. Some of his decisions are definitely based on rebelling against the expectations of others, but one would have hoped the film had delivered even more insight.
Thankfully, the cast are all fantastic and keep our attention throughout. Chalamet does fully embody Dylan and it’s easy to forget that you aren’t watching the real man. His wit and unpredictable and occasionally reactionary behavior make an impression, which includes some funny, back and forth criticism between himself and Baez. There’s some dramatic material as Elle Fanning’s Sylvie Russo is forced to deal with his rock star persona, and Edward Norton makes a strong impression as Seeger, who helps Dylan launch his career and then has to deal with the two moving down different paths.
This biopic also makes fine use of Dylan’s music. It looks as though the cast are performing the songs for the film and they do an excellent job. It also allows the tunes to be performed in a way that mirrors events in the film, like in the “It Ain’t Me Babe” number which takes on new meaning as one character ponders their struggling relationship with the musician. Additionally, the performance of “Like a Rolling Stone” to both an angry and partly appreciative audience makes an impression. The power of music and how it can change depending on the feedback of a crowd is very clear in these moments.
My other minor issue with the picture is that, well, besides the main source of drama and conflict, besides a few brief romantic trysts, is the question of whether the protagonist will change his sound or follow the wishes of the festival managers and record executives. There isn’t any question about what will ultimately occur, so there isn’t the same kind of drama as introducing some surprising new detail about Dylan into the story.
But, while it isn’t revelatory, this is a good biopic that features great performances and excellent music. So good, in fact, that the main character and acquaintance still manage to hold our attention, even if this isn’t an overly intimate portrait of the musician. A Complete Unknown doesn’t reveal enough about the real Bob Dylan, but gives an interesting general overview of one notable period in a long, storied and continuing life.
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