THE PREMISE:

"At the Newport Folk Festival in 1965, a young Bob Dylan shakes up his act on the folk music scene by going electric and siring rock as the voice of a generation - defining one of the most transformative moments in 20th century music." 

OUR MOVIE REVIEW:

“A Complete Unknown” really is the perfect phrase to describe Bob Dylan – a man whose past is as elusive as the man himself. After a decades-long career and now, a star-studded biopic, I still don’t know much about him. Though, if the film is to be taken at face value, that’s just the way he likes it.

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From the moment Timothée Chalamet steps onto the screen – guitar in hand, scarf draped around his neck – he doesn’t exactly have a commanding presence. In fact, he looks like any kid, wandering the streets of New York with nothing but a few bucks and a dream. Throughout the 141-minute runtime, Chalamet transforms. His recognizable, youthful face is taken over by Dylan’s chain smoking, mumbling veneer. Though, to be fair, Dylan’s signature shades probably help aid in that transformation.

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From the start, it’s clear the movie is heavy on music and light on plot. One of the most moving scenes occurs right off the bat when a young Dylan hitchhikes to the hospital bedside of Woody Guthrie (Scoot McNairy), who is suffering from the effects of Huntington’s disease, and serenades him with the soul and skill of a man far older than his 19 years. His obvious talent charms both Guthrie (who, unable to speak, shows his approval by vigorously pounding on his bedside dresser) and Pete Seeger (Edward Norton), one of Guthrie’s few remaining visitors. This encounter would prove to be a catalyst for Dylan’s storied career and complicated social life.

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Seeger takes the transient musician under his wing and books him modest gigs around town. It's at one of these gigs that he meets Joan Baez (Monica Barbaro), an up-and-coming folk singer whose tumultuous personal/work relationship with Dylan has been recounted by the real Joan Baez in the past. Their romantic timeline is messy to say the least, intermixing with that of Dylan’s long-term partner Sylvie (Elle Fanning). A common trait in both relationships is Dylan’s reluctance to share even a shred of information about his past. He tells both women only that he worked at a circus, where he honed his musical skills.

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Amid a backdrop of political unrest and the country’s growing racial divide, Dylan’s free-spirited style and simple but meaningful lyrics get him fans across the country. It’s here where the Chalamet-Dylan transformation becomes complete, with his uncanny ability to mimic the singer’s mannerisms and voice a sight to behold. I’d be remiss to not mention a brief but memorable appearance from Boyd Holbrook, whose rendition of Johnny Cash may just be my favorite ever (sorry to Joaquin).

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A Complete Unknown excels in its styling, musical recreations and an exceptionally understated and impactful performance from Edward Norton. For his part, Chalamet gets the Dylan-esque swagger down to a T, even if the impression comes across as a tad exaggerated at times. As frustrating as it is to come out of the film still not knowing much about the man himself, it does what it sets out to do: act as a love letter to Dylan’s tremendous impact on music, show his willingness to take risks in the name of his art, and give a tiny glimpse of what it may have been like to be around when he truly was “a complete unknown.”