Sioux City Journal entertainment editor Bruce Miller says that while "A Complete Unknown" is a respectful screen biography of Bob Dylan, it would be better served with a little less music and a little more grit.
When the times weren’t a-changin’, Bob Dylan was learning from the masters.
In the new screen biography, “A Complete Unknown,” we see him sitting at the bedside of Woody Guthrie, sharing cigarettes with Johnny Cash and sparring with Joan Baez.
Pete Seeger weighs in, too, as a mentor of sorts, proving influence does have an impact.
Dylan, of course, takes the lessons into another sphere and moves from mild folk to life-changing rock.
The shift isn’t detailed, but director James Mangold shows Dylan is clearly in a class by himself.
Spanning a handful of years, the movie includes a lot of music and more than a few iconic songs. Timothee Chalamet makes a great Dylan, all floppy-haired and rough-voiced. He doesn’t smooth the edges, but he also doesn’t let this seem like a definitive look at a man who really can’t be defined.
Seeger (played by Edward Norton) is a key figure. He spots Dylan’s talent and nurtures it until, maybe, it goes beyond what he and others are selling. They like folk music just the way it is; Dylan has other ideas.
Along the way, relationships add to the picture, giving us a glimpse of Baez (Monica Barbaro) and her feisty relationship with Dylan. There’s a girlfriend, too, but she’s not name-checked like Baez. Played by Elle Fanning, she helps ground the story and give it the edge that seems to be missing.
Chalamet does everything we’d expect. He knows the songs, captures the inflections and shares the attitude. He doesn’t go all Rami Malek on the role, but he does make the journey seem possible. He sings all the songs (there are a lot of them – did we say that?) and has the posture and attitude in check. He’s the perfect person to play the role – even though it’s underwritten.
More interesting is Norton’s Seeger. He represents the old guard, trying to keep the guardrails up while his young friend is interested in tearing them down.
The evolution into electric music is positioned as a real shift but it’s simply the unknown. Once Dylan pops it open at the 1965 Newport Folk Festival, it can’t be put back in the bottle.
Cash – a friend in another field – is an interesting influence, too. There are truths about him that weren’t included in Mangold’s “Walk the Line” biography. Boyd Holbrook adds dimension to Cash that Joaquin Phoenix didn’t consider.
As great as it might be to hear classic songs (like “Blowin’ in the Wind”) in an embryonic stage, there’s maybe too much emphasis on specific music and not enough of Dylan without the connection. That nuance might have helped connect the dots between newcomer and legend.
“A Complete Unknown” answers questions. Sometimes, though, the right questions are lost in that wind.
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