A Complete Unknown chronicles Bob Dylan's journey from his arrival in Greenwich Village to his infamous electric set at the Newport Folk Festival in 1965. Directed by James Mangold and based on Jay Cocks’ screenplay adapted from Dylan Goes Electric, the film’s title suggests a focus on Dylan’s rise to relevance in the burgeoning folk scene, but the second half pivots to the drama surrounding his musical transformation and disastrous set at the 1965 Newport Music Festival. Unfortunately, it results in a movie frustratingly at odds with itself over which of two stories it wants to tell. Its rather inelegant solution is to tell both and hope for the best.
The film divides itself neatly into two parts, with a fade-out marking a jump forward of about six months. In that time, Dylan transitions from relative obscurity to international superstardom. The first half is essentially a sweet coming-of-age tale, immersing the viewer in Dylan’s early days in Greenwich Village, where he idolizes Woody Guthrie and forms key relationships with figures like Pete Seeger (Edward Norton). Despite lacking a narrative thrust, this half succeeds in capturing Dylan’s charm and the atmosphere of the Village. There’s a reason that most of the movie’s marketing emphasized this period: it’s easier to sell a story about Dylan becoming a folk hero than to make the audience understand the enigmatic, often unexplainable motives that drive him in the second half, asking us to conclude that he's an unknowable genius and not simply, as Monica Barbaro’s Joan Baez calls him, kind of an asshole.
When the film shifts to Dylan’s electric transformation, it falters. The Newport Folk Festival conflict is framed as Dylan rejecting the expectations thrust upon him, but the groundwork for this struggle feels manufactured. Dylan pushes back against being anointed the savior of folk music, yet the first half never establishes that burden being placed on him. Meanwhile, Dylan’s interpersonal motives remain opaque, leaving the audience, like those around him, grasping for understanding.
Of course there’s no real disconnect between the film’s two halves after all. The narrative through line is clear: Dylan arrives in New York, relies on the kindness of a number of strangers, and within a year has undermined, rejected, or betrayed them all. However, its refusal to pass judgment on Dylan's actions, instead hoping that the audience will buy into its portrayal of Dylan-as-enigma, ultimately undermines the film, reducing its arc to a series of events rather than a cohesive narrative.
Screenwriter Jay Cocks seems unwilling to come right out and say Dylan was in the wrong: yes, he’s an asshole, but he’s not a villain. The lack of character development in Dylan stands in stark contrast to the other characters, whose motivations are clear and sympathetic. In this way, A Complete Unknown most closely resembles Inside Llewyn Davis, though I think the Coen brothers would more enthusiastically agree that their protagonist is not only an asshole, but an unlucky loser.
Mangold has compared his film to Amadeus, with Pete Seeger intended as a Salieri figure. However, this effort falls short. Edward Norton’s Seeger emerges as the most sympathetic character, a gentle mentor with clear motivations and everyone’s best interests at heart. Norton’s performance is exceptional, anchoring the film in warmth and humanity that Dylan himself lacks. By contrast, Dylan, as portrayed by Timothée Chalamet, remains a cipher. Chalamet gives an excellent performance, capturing Dylan’s mystique and charisma, but the film’s refusal to explore Dylan’s inner life leaves him stranded in the later stretches.
The climax at Newport highlights the film’s struggles. Dylan’s desire to break free from the box of acoustic folk is understandable, but the opposition he faces—most notably from Seeger—feels more relatable. The film avoids condemning Dylan, and while this neutrality might work in theory, in practice, it creates a protagonist who is difficult to root for. Dylan’s enigmatic nature makes it hard to connect with him or even understand his motivations, as the film hopes we’ll accept his genius as a sufficient explanation for his actions.
Technically, Mangold’s film is impressive: the production design and costuming evoke the era with remarkable detail, and the sound mixing during musical performances is pristine. Mangold’s direction elevates the material, bringing visual flair and moments of striking composition, such as a scene of Dylan reflected in a hotel vanity mirror with Joan Baez. The supporting cast shines, with Monica Barbaro delivering a powerhouse performance as Baez that deserves Oscar recognition, while Elle Fanning does what she can with a role that ultimately serves little purpose.
Bob Marley: One Love offers a curious comparison. Both films build to climactic concerts with the performer’s reputation on the line, but where One Love addresses Marley’s character flaws within traditional biopic tropes, A Complete Unknown gambles on Dylan’s mystique to paper over its lack of character development.
Ultimately, A Complete Unknown gets a tentative thumbs-up. It’s a six-and-a-half out of ten film—a five-and-a-half movie elevated by stellar performances, gorgeous production, and Mangold’s direction. While it may leave viewers grappling with Dylan’s unknowable nature, the film is undeniably well-crafted and worth a watch for its highs, even as its lows leave it feeling frustratingly incomplete.
Cut to The Chase
What is A Complete Unknown about?
A Complete Unknown chronicles Bob Dylan's rise from Greenwich Village newcomer to the infamous electric set at the 1965 Newport Folk Festival. The film explores his transition from folk hero to polarizing enigma.
Is A Complete Unknown worth watching?
Yes, despite its flaws, the film offers stellar performances, particularly from Edward Norton and Monica Barbaro, and impressive production design. It’s a must-watch for Dylan fans and biopic enthusiasts.
How does A Complete Unknown compare to other biopics?
Similar to Amadeus and Inside Llewyn Davis, the film portrays a complicated artist surrounded by more relatable characters. However, its reluctance to delve into Dylan’s motivations may leave viewers divided.
What are the standout performances in the film?
Timothée Chalamet captures Dylan’s charisma and mystique, while Edward Norton’s Pete Seeger anchors the story with warmth. Monica Barbaro delivers a standout portrayal of Joan Baez.
What is the main critique of A Complete Unknown?
The film struggles to balance its two halves: Dylan’s early rise and his controversial electric transformation. Its refusal to explore Dylan’s inner life makes him a difficult protagonist to connect with.
