Music-based biopics are a unique genre all their own. They tend to focus on the singer’s origins, childhood, early adulthood, gaining inspirations for their work, and becoming successful. Usually, these films depict the challenges on the road to stardom, facing personal
issues, having struggles, and either succumbing to or overcoming personal demons. Some biopics like Ray (2004), Walk the Line (2005), Bohemian Rhapsody (2018), Rocketman (2019), Elvis (2022) are very good. Others tend to vary from stunning yet flawed like The Doors (1991), grossly-inaccurate like The Runaways (2010), highly-exaggerated a la Great Balls of Fire (1989), or satirical in nature like Weird: The Al Yankovic Story.

Now, Bob Dylan is the subject of the latest music biopic- A Complete Unknown. Set between 1961 to 1965, the movie focuses on his beginnings as a folk musician in New York before switching over to an electric sound. Coincidentally, it is directed by filmmaker James Mangold, who previously helmed the Johnny Cash biopic Walk the Line. Written by Mangold and screenwriter Jay Cocks, the film is based on Elijah Wald’s historical biography book Dylan Goes Electric. A Complete Unknown is not the first time Dylan’s story has been told on film before. An early effort was made in the 2007 movie I’m Not There, which consisted of six different actors playing facets of Dylan at certain times in his life under various names. While it was praised for the acting performances, I’m Not There was not a success at the box-office. This begs the question: does A Complete Unknown shed light on who Dylan really was?

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In 1961, a young Dylan (Timothee Chalamet) arrives in New York City from Duluth, Minnesota. He settles in Greenwich Village and attempts to carve out a singing career. Dylan visits ailing folk singer Woody Guthrie (Scoot McNairy) in a New Jersey hospital, and it is here he meets Pete Seeger (Edward Norton). The young man shows his potential by playing an original composition “Song For Woody”, which leaves an impression on Guthrie and Seeger. Dylan is invited to stay with Seeger’s family as he makes connections within the folk scene in New York. He also meets a woman named Sylvie Russo (Elle Fanning) at a music concert, and she finds him intriguing due to his unique opinions and various anecdotes about performing at a travelling carnival.

At a folk performance, Dylan meets fellow artist Joan Baez (Monica Barbaro) and dazzles the audience with his music. Seeger introduces him to a professional manager named Albert Grossman (Dan Fogler), who decides to take him as a client. Through Grossman’s efforts, Dylan manages to land a contract with Columbia, but he soon learns they only want him to record cover versions of other people’s songs. Growing tired of his talent being wasted, he confides in Baez, whom he is increasingly becoming friendly with. During this time, he
becomes a fan of country musician Johnny Cash (Boyd Holbrook) and strikes up a letter writing correspondence with him.

It is not long before Dylan starts having problems in his personal life. Sylvie feels he is becoming more distant from her, and she starts to question the stories about his earlier life and background. However, she still believes in his talent and urges him to make authentic music. Inspired by this, Dylan focuses on the political and social tensions happening in America, such as the Cuban Missile Crisis, the assassination of John F. Kennedy, and the rising tensions over Vietnam. The end result is his hit album “The Freewheelin’ Bob Dylan”, which makes him a star. Although he has become famous, Dylan does not yet have the ability to make music the way he wants to. In order to cope with the pressure, he enters into a collaboration and affair with Baez. Needless to say, this leads to the end of his relationship with Sylvie.

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By 1965, Dylan increasingly finds himself at odds with Baez, Seeger and the industry. They want him to keep playing the folk songs that made him famous, but he wants to experiment and incorporate electric instrumentation into his music. Several people in the folk community disprove this idea, because they prefer acoustic folk arrangements of songs. Undaunted, Dylan forms a backing band to make his next album, Highway 61 Revisited. He has his mind set on debuting his new material at the Newport Folk Festival, which is a concerning thought for the festival organizers who want him to perform folk. This will lead Dylan to making a decision about his career and which direction he will take.

Timothee Chalamet shines as Bob Dylan. Having shot to fame over the past decade, the young man manages to embody the artist in a convincing manner. Chalamet manages to capture Dylan’s distinct speech patterns, slouching posture, and subtle body language. The result is something rather uncanny Not only does Chalamet sing Dylan's songs, he even learned to play guitar and harmonica for the film. It is clear that he has done his homework on the character, because he succeeds in embodying the essence of Dylan.

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Edward Norton does well in his role as Pete Seeger. The veteran character actor provides a dual function as father figure and friend to Dylan at a crossroads in his life. Norton is able to make Seeger both likeable and driven, all the while being realistic and focused on the
expectations of the music industry. It is quite pleasing to see Norton being a film lead again, because he tends to take on supporting roles in ensemble pictures. One can only hope that the thespian continues to pursue mentor roles in the future, because he is quite gifted in that niche.

The rest of the cast does well with the material they’re given. Elle Fanning turns in a fine performance as Sylvie, and she is quite sympathetic as the relationship with Dylan becomes strained. In a way, she is the audience surrogate into Dylan’s world and a voice of reason. Her
increasing suspicion about his affairs and background are spot-on, and the breakup scene between Dylan and Sylvie is emotionally painful to watch. Monica Barbaro is electrifying as Joan Baez, who is fiery and strong-willed. Her take on the character is quite compelling to
behold. She holds her own opposite Chalamet both onstage and off-stage. While they clash at intervals, it is clear that she is just as talented and driven as he is. One of the film’s highlights is their duet of “It Ain’t Me Babe”, which brings to mind a very similar scene from Mangold’s
previous film Walk The Line. Dan Fogler brings believability and nuance as Albert Grossman, who’s trying to placate his client while being realistic about the trends and practices of the industry. Boyd Holbrook is tough, moody and mysterious as Johnny Cash, and it is quite fascinating to see him interacting with Dylan over the changes in the folk scene. Finally, Scoot McNairy offers a mostly-silent and sad portrayal of Woody Guthrie towards the end of his life, but he manages to make the character sympathetic and nuanced.

Perhaps the most enigmatic thing about A Complete Unknown is Dylan himself. Unlike other music biopics, we do not get any revealing flashbacks to his early years in Minnesota or exploration of his family. The only clue to his pre-fame life is a letter from home addressed to
Bobby Zimmerman (his birth name), which reveals that he was born into a Jewish household. Dylan hints at performing at a carnival before coming to New York, but this is never explained or described in detail. Other characters question this story and debate whether or not it is true. Yet the important thing to remember is the narrative’s focus is on the young Dylan and his music. Whatever the relationship with his family, the film does not go into any unnecessary exposition of things that don’t need to be explained.

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As par for the course in Hollywood, the film takes a little artistic license with the historical facts, but thankfully, these instances are few and far in between. It should be noted that the film is not meant to be a documentary about Dylan’s life. For instance, Johnny Cash is given a larger role in the Newport Folk Festival at which Dylan finds himself at a crossroads. It is true (as the film shows) that Cash started a penpal relationship with the younger man before developing a friendship after meeting a few years later. However, he was not at the festival that the movie depicts. In addition, the negative reactions to Dylan’s changing sound over to electric comes from two performances, one of which was at Newport and the other at a show in Manchester, England from the previous year. While this is a composite depiction, it must be remembered that the film aims to show how people reacted to Dylan’s music. Another change to the narrative is the character of Sylvie herself. In real life, she was really known as Suze Rotolo, and their relationship did end in a breakup during the mid-1960s. Dylan requested that Mangold and the producers change her name for the film, because he felt she preferred a more private life. Also, Rotolo published a memoir of her own and wanted to be known as something other than Dylan’s ex. Needless to say, the filmmakers granted the request. However, like Rotolo, Sylvie is shown on “The Freewheelin Bob Dylan” album cover, so it is quite clear who she is intended to represent.

The film is beautifully shot by cinematographer Phedon Papamichael, who captures a gritty realness of the 1960s. It feels like a cinema verity documentary into Dylan’s world at times. Editors Andrew Buckland and Scott Morris keep a taut, well-structured pace to the narrative, and the 140 minute film never feels long or dragging. What’s more, the sound editing and mixing are spot on, and one cannot help but feel immersed in the world of the 1960s folk scene.

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As to be expected, the music is the biggest part of the film. There are forty songs performed within the movie with period-accurate instruments and recording equipment, which adds to the feeling of authenticity. Folk, rock, pop, gospel and blues can be heard at various points within the narrative. Chalamet sings and performs guitar and harmonica live. Barbaro, Norton and Holbrook also perform songs for the film. What’s more, the film uses material and archive sounds from Columbia Records and unreleased Dylan recordings. The end result feels akin to opening up a time capsule into the mid-1960s.

Overall, A Complete Unknown is an excellent biopic. Chalamet delivers a breathtaking performance as Dylan, and he’s established himself as a bona fide leading man. Norton, Fanning, Barbaro, and Holbrook are also very good in their roles. Mangold’s direction is tight,
focused and well-structured, and the music is quite enjoyable to listen to. The film is one of the year’s best works. Five out of five stars.