Bob Dylan once sang, “Come writers and critics, who prophesize with your pen.” Well, if this critic has the ability to prophesize anything, Timothée Chalamet is about to become the youngest actor to win the Academy Award for Best Actor. Chalamet stars as Bob Dylan in James Mangold’s A Complete Unknown (2024). While he proves himself to be one of the most impressive actors of his generation, the film struggles to match his brilliance. 

A Complete Unknown focuses on four pivotal years in Bob Dylan’s music career. It begins with Dylan’s move from Minnesota to New York City in 1961 and ends with his 1965 concert at the Newport Folk Festival that results in his controversial switch to electric instruments. 

Dylan arrives in New York City to meet his ailing idol Woody Guthrie (Scoot McNairy). This visit also introduces Dylan to Pete Seeger (Edward Norton) and introduces the audience to the film’s first subdued musical sequence. Like Seeger and Guthrie, the audience is left in awe by Chalamet’s Dylan. 

As a certified Chalamet-stan still living off the high of meeting the actor, even I was unsure if I’d be able to shake Chalamet’s presence and believe him in this role. My doubts quickly subsided as he slipped into the song and suddenly, it was Bob Dylan on the screen. Chalamet exudes a presence that leaves you eager to know more about this vagabond kid. 

This launches Dylan’s music career as Seeger takes him under his wing. His performances grow from dive bars to cover albums to concert halls. His lyrical mastery captures the audience as he serenades them with Blowin’ in the Wind.  His growing notoriety leads to Dylan’s first appearance at the Newport Folk Festival. 

Throughout the movie, Newport Folk Festival pinpoints Dylan’s fame progression. He moves up the festival lineup eventually to become the headliner as crowds grow and folk music consumption rises. 

The musical numbers at Newport, plus the other venues Dylan plays, are the highlight of the film. The dynamic performances immerse you in the moment with Chalamet’s singing and Phedon Papamichael’s striking cinematography. The moments are electrifying, but the film flattens in between these sequences.

We’re told Bob Dylan’s story through those around him– specifically through Seeger, Joan Baez (Monica Barbaro), and Sylvie Russo (Elle Fanning). Each of these three fit into a singular archetype–the overbearing father, the star-crossed lover, the first love. These relationships offer us a glimpse at who Dylan is through their interactions, but he still remains barely a character in his own story. It’s as if the plot is happening around him and he sits idly by as it evolves, never offering a reaction. 

Each relationship is not given the space to breathe properly and the storylines get muddled as the film attempts to navigate their impact on Dylan. If the film were to narrow its focus and explore Dylan through one of the relationships, it would have enhanced the story it was attempting to tell. Instead, each underdeveloped subplot holds the film back from reaching its full potential.  

The film also suffers from the fact it is a biopic about one of the worlds most elusive singers. It’s no secret that Dylan is an enigma, and the film certainly wants you to know that. This seems to be the one point the film is trying to make about Dylan. However, it’s difficult to get an audience to invest in an unknowable figure for 140 minutes.

Despite its flaws, there is a magic to the film in how it captures Dylan’s persona. It’s as if the film is breaking through the fourth wall by not allowing the audience to know Dylan. Isn’t that what makes him the legend he is? Wouldn’t it go against the core of what makes Dylan so unique to attempt to understand him? Afterall, the film is titled A Complete Unknown. 

Dylan himself seems to be unsure of who exactly he is, or how he’d like to be perceived. When confronted with that very question, he simply says he’d like to be “whatever it is they don’t want me to be.” This seems to be the most profound thing the film has to offer about Dylan. Instead of trying to understand who he is, it’s better to understand who he is not. 

The film’s finale explores this best as we find Dylan once again at the Newport Folk Festival. He’s facing public scrutiny and pressure over his shifting sound and the audience eagerly awaits to see if Dylan will stick to his folk roots or go electric.

The screenplay is based on Elijah Wald’s book Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties. And just like that night, the 1965 performance at Newport is electrifying. It’s the first moment in the film we see Dylan’s internal conflict and the tension is palpable. You’re on the edge of your seat waiting for his decision, and once made, you can’t help but dance along to the music. It is unfortunate the whole film wasn’t focused on this one special night. 

Despite its flaws, the film has the benefit of having Chalamet at its helm. He is spell-binding on stage, almost enough for you to forgive the film’s flaws. As he mumbles through his line deliveries and slides on his Ray Bans, Chalamet captures the essence of Dylan flawlessly. 

The role was no doubt a risk for Chalamet by portraying a well known figure and choosing to sing each song himself. He’s transcendent! With an already stacked roster of quality performances, this moment truly cements him as one of Hollywood’s greatest working actors. 

The decision seems to be paying off, helping set Chalamet up as no longer a boy-actor but truly a grown leading man. He completely transforms into Dylan, while also avoiding a cheap imitation of the legend. There’s a movie-star quality to his Dylan– a magnetism that hooks you the moment he’s on screen. The character of Dylan as written in the script is underdeveloped and lackluster, but Chalamet’s brilliant performance strikes you nonetheless. He makes a dull character truly fascinating. 

His Academy Award is inevitable, but it feels especially deserved for this role.

A Complete Unknown is not without its flaws. From its underdeveloped subplots to its one dimensional characters, it’s a biopic that feels more like a concert film. But, it’s easily one the greatest concert films you’ll watch.

Turn your mind off–let the performances and music move you. Lose yourself in the film and don’t think twice about it–it’s alright. 

Review Courtesy of Kamryn Ryan

Feature Image Credit to Searchlight Pictures via IMDb