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A bold, uncompromising portrayal of Bob Dylan’s transformation — messy, restless, and unapologetically electric, much like the man himself.

A review by Ioanna Gousiopoulou

A Complete Unknown has caused viewers to react with both familiarity and surprise. James Mangold’s directorial route is not a typical depiction of Dylan (think Scorsese’s Rolling Thunder Revue: A Bob Dylan Story). The emphasis shifts to a crucial phase in his life, during which the occasional folk hero becomes someone more controversial and uncertain.

Timothée Chalamet does an impressive job portraying the difficult role of Dylan. He concentrates on conveying his restless energy and the reserved, almost aloof manner in which he held himself rather than making an impression or an excessive effort to sound exactly like him. While not perfect, his performance feels genuine. Chalamet delivers a unique and unrestricted execution of the songs in the concert scenes, which works exceptionally well. You can tell he is not trying to be a carbon copy—he is channeling that unpredictable spirit Dylan was known for.

Dylan arrives in New York City with an unobstructed vision and the intention to leave his mark on the folk music scene of Greenwich Village. He is not entirely a part of the crowd, but he has the potential to become noticed. Mangold’s film turns the primary focus away from Dylan’s music and onto his political position within the folk group, shedding light on how he both accepted and rejected its activism. He had always desired to be more than just a voice of reason, even though that’s all people wanted him to be.

With its packed cafés and smoke-filled music venues, Mangold’s lens effectively captures the vibe of early 1960s New York. Though it often veers into nostalgia rather than properly confronting the tensions that constituted Dylan’s journey to rock stardom, the cinematography conjures a sense of time and location. The film occasionally swerves toward biographical clichés, but the script keeps its eye on the ideas of artistic development and personal sincerity.

The character of Sylvie Russo, played by Elle Fanning and loosely based on Suze Rotolo, has hints of warmth and humanity. Dylan and Sylvie have an unbreakable bond, and this closeness ends up becoming one of the hardest challenges she must confront as Dylan’s star power grows and his persona changes. Sylvie’s nail art conveys both passion and frustration, making her seem like a living, breathing figure.

Monica Barbaro plays Joan Baez. As equal parts musical collaborator and folk scene comrade, she does not pose a rival to Dylan, but rather an inspiration and a muse, and their duets are beautiful and bittersweet. Also performing on stage is the famous folk singer Pete Seeger, played by Edward Norton, who condemns Dylan’s transition to electric rock. He is not portrayed as a villain but rather engages in the tradition of Dylan’s challenge.

The film’s most memorable moment is Dylan’s iconic performance at the Newport Folk Festival in 1965. After he plugs in his Fender Stratocaster, the tension builds up to such an extent that it leaves everyone gasping in discomfort, but that is the point. Despite the many challenges, Dylan is leaving several people behind and continuing to push forward. The film does not portray the artist as a tragic figure, but instead leaves us with the sense that he has never really belonged to anyone but himself. It works because it does not question who Bob Dylan is but rather accepts that he is, and always has been, a moving target.

There are moments when the movie attempts to draw attention to itself. The cliché of the ‘tortured artist’ is used on a few occasions, and Mangold occasionally endeavors to revive the significance of Dylan’s game-changing abilities. But overall, his film does not have an overly clingy feel and the plot is built around Dylan’s music and performances.

Those who love Dylan and are curious about his legacy should watch A Complete Unknown. It is as chaotic and complicated as the man himself. Chalamet might not give the definitive Dylan performance, but he gives an honest one, and that is more than enough.