A Complete Unknown gives a transcendent musician an inert biopic feature

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As a film enthusiast with a soft spot for biopics that breathe life into historical figures, I must say that “A Complete Unknown” left me feeling rather unfulfilled. Having watched my fair share of biographical films, from Denzel Washington’s gripping portrayal of Malcolm X to Jesse Eisenberg’s brilliant take on Mark Zuckerberg, I was expecting a similarly captivating performance from Timothee Chalamet as Bob Dylan.

“The song I really love from Bob Dylan is ‘All I Really Want to Do.’ This melody particularly resonated with me when it played during the final scene of Honey Boy. To me, it’s something extraordinary. Dylan’s poignant vocals harmonize beautifully with lyrics that reflect a keen understanding of how relationships can sour. In this song, Dylan promises another person, “I ain’t lookin to…deceive or hurt you,” and further adds, “I won’t simplify you, categorize you/Deny, defy or crucify you.” Many relationships in the world are self-centered and harmful. The subtle chuckle and yodeling that Dylan includes in his vocals serve as a quiet challenge to this bleak reality.

Regarding “All I Really Want to Do,” acknowledging its underlying truth, it expresses a deep desire for friendship that remains evident. A blend of practicality and hopefulness resonates through the song’s longing for human connection. It was intriguing to catch a glimpse of this number in James Mangold’s Bob Dylan biopic, A Complete Unknown. In the film, Timothee Chalamet as Dylan and Monica Barbaro as Joan Baez perform this song at a concert that ultimately fails. While listening to this recognizable tune stirred fondness within me, it didn’t make the scene particularly captivating. Similarly, the other Dylan tunes performed in A Complete Unknown couldn’t save the movie from its shortcomings.

Mangold’s comeback to the music biopic genre, following his work on “Walk the Line” over 20 years ago, seems surprisingly lacking in energy. To put it simply, “A Complete Unknown” is a less impressive version of “Olympus has Fallen,” when compared to the much more inspired “White House Down.

Initially, the movie “A Complete Unknown” starts off on a questionable note as the 19-year-old character Dylan steps foot in Greenwich Village for the first time. Directors Mangold and Papamichael attempt to emphasize this arrival amidst wintery chaos, but they seem overly polished and clean. The portrayal of Greenwich Village lacks the raw, gritty qualities it should have. Everything appears too clean, as if every prop and backdrop was scrubbed before the camera arrived. The screenplay aims to quickly present Dylan as an outsider in a confusing, chaotic setting. However, this musician’s new environment looks quite ordinary instead of evoking the unfamiliarity and coldness that Dylan experiences. Even the visuals fail to effectively capture the chilly atmosphere!

In simpler terms, the authors, Cocks and Mangold, narrate Dylan’s life from 1961 to 1965 in a very traditional style. The story often pauses to let Chalamet perform songs that are reminiscent of Dylan’s. At times, it feels like watching a poorly executed concert film. Contrasting with Dylan’s rule-breaking 60 years ago, this biopic adheres closely to the typical characteristics of mainstream music biopics, including its linear storytelling and lack of political focus. Sometimes, this is unintentionally humorous. When Chalamet first appears on screen as a “moody” portrayal of Bob Dylan, my mind immediately thought, “this must be a difficult time!

Generally speaking, the film “A Complete Unknown” is quite dull, primarily due to its overly adoring portrayal of Bob Dylan. Every time he performs, Dylan creates history, and each song that leaves his lips becomes a hit. Even his controversial electric guitar performance at a folk music festival received as much applause as jeers from the crowd. Unfortunately, there’s not much variation in Dylan’s actions or personal growth to make him an engaging solo character. Any attempts to delve deeper into Dylan or offer fresh insights about his art are left unexplored, like they were “blown in the wind.” Such explorations would likely be too complex for “A Complete Unknown” to handle.

One Love”. The same creative choices that make a character in “The Adam Project” do an unexpected reference to a superhero landing are also seen in the way the story of Dylan’s life is presented in “A Complete Unknown”. Characters often mention song titles or musicians, and it feels like they’re winking at the audience. Characters like Pete Seeger (played by Edward Norton) and Joan Baez (Monica Barbaro) appear on screen, but they seem more like wax figures than real people. The director knows the key moments and names from Dylan’s early years as a musician, but doesn’t add much new to what we already know about those events.

In this film’s expansive narrative style, various elements seem to draw connections with other parts, such as the unconvincing dialogue like when manager Albert Grossman (Dan Fogler) tells musician Seeger something along the lines of “This is your dream…folk music touching hearts everywhere!” while they both witness Dylan enthralling a crowd. Additionally, a peculiar attempt at humor surfaces from an intoxicated Johnny Cash (Boyd Holbrook), who has parked his car in such a way as to block Dylan’s motorcycle. The editing by Andrew Buckland and Scott Morris, along with lines like Cash’s “Would you like a Bugle?” query to Dylan, are meant to provoke laughter from viewers. However, these comedic elements feel outdated and unsuitable for a serious 2024 production, as they seem more fitting in a mediocre comedy from the 1980s.

The understated narrative style of “A Complete Unknown” is particularly noticeable in its female characters, with Toshi Seeger (played by Eriko Hatsune) being a standout example. Despite appearing infrequently and speaking only sparingly, she is often present in the background, consistently standing by Pete without a distinct personality defined. Each time the camera returned to her, I found myself longing to learn more about her backstory. The most impactful films (such as those of Greta Gerwig, Abbas Kiarostami, or Agnes Varda) manage to imbue even minor characters with a sense of depth and history that extends far beyond the screen. Unfortunately, Toshi Seeger fails to evoke such a feeling, despite Eriko Hatsune’s undeniable acting abilities suggesting she could handle more substantial roles.

In the film “A Complete Unknown“, it seems that the main female characters, particularly Sylvie Russo (Elle Fanning), have fewer active roles. Fanning’s character often finds herself tearfully observing Dylan’s performances, her talent in portraying vulnerability making these moments touching. However, even with her skillful acting, she struggles to make the questionable writing by Cocks and Mangold shine. Consequently, she is left reciting the same predictable motivational lines that are common to love interests of eccentric male historical figures in biographical films. Similarly to Fanning, Monica Barbaro demonstrates a knack for singing well and delivering impressive physical performances. Unfortunately, like Fanning, Barbaro’s character seems to be underutilized by the script as well.

99% of moviegoers attending “A Complete Unknown” likely won’t find any of that appealing, though. The film is generating buzz because Paul Muad’Dib Atreides portrays Bob Dylan. Timothee Chalamet delivers an impressive Dylan impersonation without a doubt. His ability to convey depth through his eyes (as seen in the final scene of “Call Me by Your Name”) suits an angst-ridden musician perfectly. However, despite Chalamet’s on-screen performance, it doesn’t quite stand out as exceptional. It’s a remarkable reenactment of the past, but truly compelling biopic leading roles offer something more than that.

In the films “Malcolm X” featuring Denzel Washington, “The Social Network” with Jesse Eisenberg, “Steve Jobs” starring Michael Fassbender, and “Selma” headlined by David Oyelowo, their performances didn’t just mimic real-life characters; they enhanced them. They brought additional layers of vulnerability, humanity, and unique qualities that made these performances memorable and established their own artistic impact. Unfortunately, the script for “A Complete Unknown” doesn’t offer Timothée Chalamet the same opportunity. He nails the voice and mannerisms, but his performance in this film didn’t leave as lasting an impression on me as his roles in “Little Women” or “Bones and All.” Additionally, the straightforward shooting style of “A Complete Unknown” makes it hard to accept Chalamet as Dylan, a musician known for his distinctive vocals. To bring such an eccentric artist to life, Todd Haynes opted for a visually stylized and varied approach in his film, “I’m Not There.” An oversized persona like Dylan requires a movie that strays from the ordinary reality.

My favorite musicians often sound like they’re singing directly to me. Even a pop singer like Taylor Swift’s greatest tunes like “Tim McGraw” and “Betty” sound like they’re being performed in my living room. The same is true for Bob Dylan’s deeply intimate tracks. Despite how many countless people his tunes have resonated with, it sounds like he carved out those lyrics for me. That just makes it extra disappointing that A Complete Unknown chronicles five years of the man’s life in such a generic fashion. This is a movie desperate to not alienate anyone. In the process, it wastes the precious time of deeply committed actors and craftspeople (the costumes especially look great), not to mention paying moviegoers. To paraphrase my favorite Dylan song, “All I really want to doooooo….is watch Inside Llewyn Daivs to wash A Complete Unknown’s taste out of my mouth.”

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2024-12-10 20:16