(SEARCHLIGHT PICTURES/WALT DISNEY STUDIOS/TSG ENTERTAINMENT/VERITAS ENTERTAINMENT/WHITE WATER/RANGE MEDIA PARTNERS/THE PICTURE COMPANY/TURNPIKE FILMS(141 minutes; Rated R); 2024)
Biopics are always fraught with possible problems, among them an army of fans and pundits waiting to pounce on every historical inaccuracy and to analyze the actors playing the key figures, judging whether or not they did an authentic enough job portraying those figures… an especially opinionated exercise when it comes to MUSICAL biopics. Sometimes there is general agreement that the film did a good job (recent biopics on Ray Charles, Elton John and Queen, for example). And sometimes a film in this category flames out so quickly, hardly anyone even bothers to see it (anyone remember that Bowie film a couple of years ago that couldn’t even get the rights to use most of Bowie’s music?). James Mangold, the director of the superb new Bob Dylan biopic A COMPLETE UNKNOWN, is clearly aware of the burden placed on him to credibly tell the story of a true musical icon… he’s braved these waters before with his Johnny Cash film, WALK THE LINE, which mostly won audiences and critics over, despite some liberties taken here and there with facts. Mangold had his two main stars in that film do their own singing, a challenging task for Joaquin Phoenix, who played the man in black, and Reese Witherspoon, who delivered an Oscar-winning performance as June Carter. But Mangold did an impressive job selecting the parts of that story he wanted audiences to see, and using the enduring collaboration and initially iffy romance between Cash and Carter as his cinematic throughline, an artistic decision that worked quite well.
All of this is to say that Mangold had an even loftier task bringing the story of the legendary Bob Dylan to life; Dylan is one of the most important and influential singer/songwriters of all time, and every music fan in the world over a certain age knows SOMETHING about the performer and has impressions (and favorite periods) developed over more than a half century of pop culture evolution. How could you make a worthy film about a musician who meant so much to so many, and still does? Well, two key decisions pointed the way: one was to focus entirely on Dylan’s first five years, when he made the biggest splash as the Greenwich Village “folkie” inconoclast who changed the rules and forced a debate about Folk music versus Rock and Roll to come to the surface, most notably at the infamous Newport Folk Festival. The second decision was to find the right actor to play Mister Zimmerman (Timothee Chalamet, simply superb) and have a good part of the script deal with two key women in Dylan’s first phase: Joan Baez (played here by Monica Barbaro) and Sylvie Russo (a character based on the real-life Suze Rotolo, an artist and activist Dylan was romantically involved with for a while and is pictured with him on the cover of his debut, THE FREEWHEELIN’ BOB DYLAN). Elle Fanning plays that role in the film with charm and often heartbreaking vulnerability. Anyway, A COMPLETE UNKNOWN does an effective job alternating scenes of Dylan singing his powerhouse and emotive songs and building an awestruck following in the process, with scenes showing his interactions with the already established Joan Baez (who inevitably falls for him after seeing his charisma and obvious talent) and the slightly more angsty young artist who shares his bed. It’s hard to just concisely sum up how well this movie delivers on these things. Chalamet is an absolute marvel, able to capture enough of Dylan’s early originality and relentless drive to convince you that you’re really in the presence of this legendary (and often prickly) performer, who simply will NOT reveal all his secrets or willingly be told what to do. I was frankly in AWE much of the time of Chalamet’s singing and successful portrayal of the inscrutable personality quirks that history has shown Dylan to always have had. You get whole songs sometimes and partial performances at other times, but it ALWAYS sounds authentic, with a handful of moments truly standing out musically, among them “Song for Woody” (a tune Dylan wrote for Woody Guthrie, who is seen ailing in a hospital bed early on when the young Bob visits and encounters Woody and fellow folk icon Pete Seeger (Edward Norton), “Girl From the North Country,” “Blowin’ In the Wind,” “The Times They Are A-Changin’,” and at least the first portion of “Highway 61 Revisted,” which is killer and I wish the film HAD given us the full song. I was personally absolutely riveted by every single scene showing Dylan interacting with Joan Baez, as I have some knowledge of that part of the story, and Baez was an early favorite of my late brother. Baez tires of Dylan’s abrasiveness and self-centered manner, flatly stating in one scene, “You’re kind of an asshole, Bob.” It’s absolutely not in the cards for these two very serious musicians to truly gel romantically, but they can’t avoid or ignore each other during this period. When they duet on an absolutely stunning live performance of Dylan’s song “It Ain’t Me Babe” at Newport, the way it is filmed and the subtext of the lyrics results in one of the most singular and memorable musical performances ever put on film. Seriously, I got chills from this scene, and the way Barbaro looks at Chalamet’s Dylan with a combination of respect for his immense talent and knowing sadness that he is ultimately sort of “unreachable,” is cinema magic. I loved Barbaro’s performance, and I loved the script, truthfully. There are so MANY moments that felt right to me as both a musician myself and a longtime observer of pop culture and the ever-changing music industry. You get plenty of scenes dealing with the industry’s attempt to capitalize on Dylan’s talent, by the way, and to reign in his sometimes unruly ways, culminating in the widely known controversy when Dylan “went electric” at the Newport Festival. It’s all engrossing stuff. And I can’t leave out Edward Norton’s solid performance as Pete Seeger… he’s our guide to the role that folk music was playing in the culture in the early ‘60s, an admirer (and mentor at times) of the stunning young talent who quickly starts changing the musical landscape Seeger has been a part of for so long, and the wise veteran who knows how songs can unite people in uncertain times (made clear by scenes showing the nuclear confrontation between the US and Soviet Union and growing civil unrest, something the Sylvie character addresses), but is concerned that Dylan may DIVIDE, rather than unite the audience.
That actually DID happen for a short time, but it’s quite clear that Dylan was simply ahead of the curve, and was too important and effective a songwriting voice to be held back by ANYONE… whether established peers like Baez and Seeger, his manager Albert Grossman (Dan Fogler) and other industry types invested in him, or an audience sometimes not willing to initially go along with the “new sounds” and aesthetic that Dylan was determined to explore. The film ends with Dylan heading off down the road on his trusty motorcycle, and we all know that the musician was soon to have a serious accident that would lay him up for a significant period and result in significant changes in his music. But I absolutely found myself feeling that A COMPLETE UNKNOWN had made almost all the right decisions: WHEN to begin the story (there is nothing about Dylan’s childhood, for example, something I’ve read a bit of grumbling about), when to end it, and how his music – and personality – significantly affected both those around him and those in his audience. You’re plunked down, as a viewer, into the middle of a vibrant Greenwich Village scene, and you’re given enough of a legendary artist’s music, impact and mysteriously insular nature, to gain fresh insight into how Dylan changed things, as well as to feel like you’ve time traveled a bit. I was consistently riveted by A COMPLETE UNKNOWN, and truly emotionally stirred by most of its scenes. Yes, it’s a terrific musical biopic. But even more, it’s a significant piece of cinema and possibly the best film James Mangold has directed (kudos also to his co-screenwriter Jay Cocks). Offhand, I can’t think of a better and more significant cinematic tale of how a musician came to change the world and remained mysterious and unpredictable throughout. Look for some Oscar nominations and plenty of revived interest in this Dylan fellow… I hear he is still around and doing things that people still argue about to this day.
