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A Complete Unknown

Young Critic

Updated: 12 hours ago

James Mangold delivers Bob Dylan's definitive, if sometimes overly-familiar, biopic

Bob Dylan’s enigmatic nature has inspired many films attempting to capture his essence and revolutionary influence. Todd Haynes took the most experimental approach with I’m Not There (2007), where multiple actors portrayed different facets of Dylan’s persona. Now, the latest filmmaker attempting to pin down the iconic American songwriter is James Mangold with A Complete Unknown (2024).


A Complete Unknown follows Dylan’s (Timothée Chalamet) rise upon arriving in New York’s folk scene in 1961. There, he is mentored by Pete Seeger (Edward Norton), forms a relationship with activist-artist Sylvie (Elle Fanning), and crosses paths with the renowned Joan Baez (Monica Barbaro). The film culminates at the 1965 Newport Folk Festival, where Dylan (in)famously went electric.


Mangold is no stranger to the music biopic, having previously delivered the definitive Johnny Cash story with Walk the Line (2005)—a character that, interestingly, also features a A Complete Unknown. Here, Cash is portrayed by Boyd Holbrook in an unforgettable turn. Mangold is well aware of the tired structures that often plague the genre, and he injects fresh energy into A Complete Unknown by allowing the film to breathe and revel in its subject’s aesthetic and style. The film doesn’t simply showcase Dylan’s genius but explores how his relationships and innate skill shaped him as an artist. This approach partially demystifies Dylan, presenting him as both a towering talent and a deeply human figure.


Mangold has never shied away from depicting the flaws of his protagonists, and Dylan is no exception. The film doesn’t paint him as an angelic artist but instead highlights his arrogance, tactlessness, and alienating obsession with his craft. This adds depth to the legend, grounding him in conflict and contradiction. His irascible restlessness reinforces the idea that Dylan’s only true constant is his desire to challenge expectations and resist categorization—an embodiment of counterculture itself.


However, A Complete Unknown loses some of its sheen and freshness as Dylan reaches stardom. At this point, Mangold begins to follow more predictable biopic beats, incorporating obligatory hit renditions that do little to advance the story. These moments feel like padding as the film works its way toward the climactic festival sequence. As a result, the second half of A Complete Unknown feels more conventional and familiar, clashing with the rebellious, free-spirited energy of the first half.


The film’s performances, however, are a goldmine. Chalamet cements his status not just as the talent of his generation but as one of the finest actors working today. He fully inhabits Dylan, adopting his signature nasal voice while performing all the songs himself—never veering into a Saturday Night Live (1975–) parody. He also navigates Dylan’s ego-driven moments with such nuance that audiences can both understand why he frustrates those around him and appreciate the genius behind his stubbornness.


The supporting cast is equally stellar. Norton is wonderfully passionate as the gentle Seeger, Fanning delivers a heartbreaking and empathetic performance as Sylvie, and Barbaro brings subtle layers to Baez, avoiding the trap of portraying her as merely a supporting figure in Dylan’s story.


Ultimately, A Complete Unknown delivers an irresistible first half, capturing the countercultural aura of 1960s Greenwich Village with authenticity and energy. It succeeds as a character study of one of music’s most inscrutable figures, even if the second half follows a more conventional trajectory. Fortunately, the film’s spectacular performances—both lead and supporting—elevate it throughout. Once again, Mangold proves himself a master of the music biopic, delivering a defining portrait of another legendary artist.

7.8/10

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