ReelBob: ‘A Complete Unknown’ ★★★

By Bob Bloom

For every performer such as Angela Bassett, Sissy Spacek or Joaquin Phoenix who earned acclaim for portraying musical icons such as Tina Turner, Loretta Lynn and Johnny Cash, many others have been derided or ridiculed for trying to capture the essence of legends.

Remember Kevin Spacey as Bobby Darin in “Beyond the Sea?” Or Cary Grant as Cole Porter in “Night and Day?” Many do not — or should not.

Now we have Timothée Chalamet chronicling the early career of Bob Dylan in “A Complete Unknown.”

Set between 1961 and 1965 the movie, directed by James Mangold — who also guided Phoenix as Johnny Cash in “Walk the Line” — follows the rise of Dylan from an unknown singer-songwriter from Minnesota to a modern folk troubadour who, to the dismay and anger of many, abandoned his folk roots and acoustic guitar and sold out by “going electric.”

Dylan, as portrayed by Chalamet, is a true rebel, uncaring about what people think or defiant by those who try to tell him what kind of music to compose. His voice was the only one that mattered and staying true to the lyrics inside his head was his sole purpose as a musician.

Dylan disdained labels, feeling very uncomfortable about being hailed the voice of a generation. His words and music were his priority, taking precedence over accolades, friendships and relationships.

Chalamet’s performance dominates “A Complete Unknown” so much so that the other major characters merely languish in his shadow. It’s not that Edward Norton as Pete Seeger, Elle Fanning as Sylvie Russo or Monica Barbaro as Joan Baez don’t acquit themselves, but it’s as if they are sketches while Chalamet’s Dylan is a portrait.

Chalamet, who learned to play the guitar and harmonica, performs his own vocals. And while his voice is not as rough as Dylan’s he impressively captures the essence of his musical and vocal styles.

The movie, written by Mangold and Jay Cocks, based on a book by Elijah Wald, fails to capture the various complexities that made Dylan who he is, but they are able to drill deep enough to display his flaws and single-mindedness that nearly extend, at times, into not so much cruelty as a disregard for those who love and support him.

“A Complete Unknown” is not a historical document. Like other biopics of artists, it contains inaccuracies as it takes dramatic license with Dylan’s life and career. It’s overall arc is showing how the success he so badly wanted eventually began to suffocate and control him.

The film’s third act, dealing with the uproar over Dylan’s decision to go electric at the 1965 Newport Folk Festival, captures the singer’s defiance about himself and his music being pigeonholed.

Fanning’s Sylvie, based on Suze Rotolo, Dylan’s former girlfriend, has little to do except ache and pine for a man who casually takes her for granted.

Barbaro’s Baez, at first smitten with the troubadour, eventually goes her own way experiencing the impact of his destructive and casually cruel manner.

Norton gives one of his best performances in years as legendary folk singer Pete Seeger, who takes Dylan under his wing, makes excuses for his shortcomings and hides his disappointment when Dylan turns his back on Seeger’s traditional style of music.

“A Complete Unknown” has its flaws. Nonetheless, Dylan fans will embrace it as Chalamet humanizes this living legend, which makes him more accessible and hopefully will allow more people to discover and embrace an iconic musical genius.

I am a founding member of the Indiana Film Journalists Association. I review movies, 4K UHD, Blu-rays and DVDs for ReelBob (ReelBob.com), The Film Yap and other print and online publications. I can be reached by email at bobbloomjc@gmail.com. You also can follow me on Twitter @ReelBobBloom and on Facebook at ReelBob.com or the Indiana Film Journalists Association. My movie reviews also can be found at Rotten Tomatoes: www.rottentomatoes.com.

A COMPLETE UNKNOWN
3 stars out of 4
(R), language, sexual situations