A COMPLETE UNKNOWN -- A Joyride Through Bob Dylan's Genius and Legacy

Review by Jonathan Berk

James Mangold made the beloved musical biopic Walk the Line, starring Joaquin Phoenix as Johnny Cash, which was later parodied by Jake Kasden’s Walk Hard: The Dewey Cox Story, forever changing the way audiences view musical biopics. Now, Mangold returns to the genre with A Complete Unknown, an exploration of Bob Dylan, another musical icon of that era. While elements of the traditional biopic formula remain, this film feels more like a tribute akin to the old MGM Studios The Great Movie Ride — a cinematic ride through Dylan's life, full of admiration and allure. Both the audience and many of the other characters seem transfixed by Dylan, gazing at him from one key moment to the next, as we ride the wave of his musical genius. It’s very much a "vibe" movie, and if you click with it, you’ll find yourself completely engrossed throughout its two-hour and twenty-minute runtime.
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Timothée Chalamet stars as Bob Dylan, who arrives on the New York folk music scene in the early 1960s at just 19 years old. He’s come from Minnesota to visit Woody Guthrie (Scoot McNairy), who is bedridden in the hospital. Dylan sings to Guthrie and Pete Seeger (Edward Norton), and from there, he becomes part of the West Village music scene, rubbing shoulders with the prominent figures of that era. Dylan’s influence grows as the film moves from one musical performance to another, with each sequence depicting the forging of relationships along his journey all while guided by his iconic songs.

Mangold portrays Dylan as someone whose magnetic personality effortlessly draws people in, and Chalamet captures that magnetism flawlessly. While I can’t speak to whether Chalamet's Dylan is technically accurate, I can say that his performance is undeniably captivating and demanding attention. Chalamet achieves this without needing to overact, relying instead on subtle gestures, body language, and an unassuming presence that somehow defies the draw he has.

Whenever Mangold cuts to Elle Fanning, who plays Dylan's on-again, off-again girlfriend Sylvie, or Monica Barbaro, who portrays the equally iconic musician, Joan Baez, it’s hard not to understand exactly what their characters feel as they look at Dylan — whether it’s love, admiration, jealousy, or frustration — because we feel it, too. Chalamet has a unique way of bringing nuanced depth to his roles, and here, much of his talent comes from what remains unsaid. His enigmatic portrayal of Dylan taps into the mystique surrounding the musician, reminiscent of the many faces of Dylan presented in Todd Haynes’s I’m Not There, but with a more straightforward narrative that lets Chalamet explore those complexities.

The supporting cast is also quite strong, with Monica Barbaro standing out as Joan Baez. Her scenes with Chalamet crackle with tension, providing some of the film's most electric moments. Their chemistry is palpable, and the highs of the film often come when Dylan and Baez are together on screen. Edward Norton delivers as Pete Seeger and gets two memorable scenes that allow him to showcase his talents. Fanning’s portrayal of Sylvie is emotionally compelling, particularly in a moment where her character comes to a crushing realization—a scene she handles masterfully.
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Other standout performances include Boyd Holbrook as Johnny Cash, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. They help shape some of the film's pivotal moments, and the scenes with Johnny Cash are particularly unforgettable. McNairy, portraying Woody Guthrie during his period of decline, has perhaps the toughest role in the film. He conveys depth and emotion through mostly nonverbal communication. Despite the challenge, McNairy’s understated performance speaks volumes.

Adding to the impact of these performances is Mangold’s stylistic direction. From the way the camera moves lovingly around the musical performances, letting us sink into the songs, to the period-perfect costumes and settings, every aspect of the film’s production design immerses us in the era — and it’s just a joy to watch. It often feels as if we are there, witnessing musical history in the making. For viewers like myself, who may not be well-versed in this particular musical movement, it’s a compelling, almost educational experience. Mangold’s evident love for both Dylan and the era of folk music translates clearly to the audience, making this film feel like a celebration of an important musical moment.

Unlike some biopics, A Complete Unknown doesn’t attempt to judge whether Dylan was a "good" person. The film shows questionable decisions and complex relationships, but it leaves room for the audience to draw their own conclusions. The central message is clear: Bob Dylan was an unparalleled musical genius, and his art is worth celebrating, regardless of his flaws. The film's true conflict seems to be that anyone would try to stifle Dylan’s creative brilliance—those who did were clearly misguided or selfish.

A Complete Unknown will likely be divisive. It’s long, and diehard Dylan fans may take issue with some of the choices made by Mangold or Chalamet. However, for those without that baggage, who simply love music and vibrant storytelling, this film will be a joy. I connected with its tone early on and never doubted my enjoyment.

A Complete Unknown is in theaters on December 25.

Rating: 4.5/5​