Film Review: ‘A Complete Unknown’ is An Impeccably Acted Biopic That Leans Into the Mystery of Bob Dylan

The mystery of Bob Dylan has lingered in pop culture for over a half century now. The enigma that is one of the most seminal artists of the 20th century endures, which is a testament to not just his staying power, but also the mystique surrounding him. Going into A Complete Unknown, I was worried that there would be an attempt to “figure him out” or make a grand statement about the why of it all. I’m only a casual fan of Dylan, but if that was the tact taken with the upcoming Bruce Springsteen biopic, I’d be annoyed. So, it’s very much to this film’s credit that the title is indicative of the depiction. Bob Dylan remains A Complete Unknown at the end of the movie, but you do sort of understand him a bit better, as well as why folks would be so drawn to him. It’s captivating and hypnotic, making for one of the year’s best works.

A Complete Unknown doesn’t feel the need to make Dylan someone who can be completely understood. It’s more important to understand those around him, as well as to get the vibe of why he was such a figure. Instead of just hitting the beats of his life, this is more about the allure and the frustrations that came along with knowing someone who can never be fully known. I got on its wavelength quickly and vibed with it from start to finish.

An adaptation of the book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties, the film is set in the early 1960s, when a nineteen year old named Bob Dylan (Timothée Chalamet) arrived in New York City on a bus from Minnesota. The young musician idolized Woody Guthrie (Scoot McNairy), then very ill, and Pete Seeger (Edward Norton), who took a shine to the kid. Both clearly saw something in him, something that suggested a sea change for music was in the works. Pete gets him his first gigs, almost instantly seeing how he’s destined for greatness.

As Bob begins to get noticed in the New York music scene, he begins a relationship with Sylvie Russo (Elle Fanning) as well as a personal and professional connection with Joan Baez (Monica Barbaro). It’s a meteoric rise to the top of the charts, getting noticed even by Johnny Cash (Boyd Holbrook), doing things no other folk singer is, all while cultivating a mystique about him that simultaneously draws people in and pushes them away. It all culminates in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965, which literally changed the game. No event in his early days more signified the defiance and genius of Bob Dylan than going electric at a folk festival, even when Pete and company begged him not to.

Timothée Chalamet leads an impeccable cast while doing the best work of his career so far. He becomes Bob Dylan in a way that’s never impression, but simply masterful interpretation. There isn’t a moment where you see Chalamet or compare him to Dylan. He just is Dylan here. Monica Barbaro and Elle Fanning are the film’s secret weapons, bringing out other sides of Dylan. Barbaro gets to go toe to toe with Chalamet and challenge his character as Joan Baez, both artistically and personally. Fanning is able to break your heart while looking at the man differently than anyone else. They both impressed me massively. Edward Norton crafts a gentle soul who sees this genius as a sign of his demise in a way, appreciating him nonetheless. It’s a kind yet complex turn that also ranks among his best, which is really saying something. Boyd Holbook gets to have the most fun of the lot, especially when Johnny Cash is on the wilder side, but never turns it into a caricature. You’re seeing Cash at one moment in his life, genuinely impressed by Dylan. Scoot McNairy makes the most of his few scenes, essentially silent yet also giving us a different look at Dylan. Supporting players include Norbert Leo Butz, P.J. Byrne, Kayli Carter, Dan Fogler, James Austin Johnson, and more.

Co-writer/director James Mangold just knows how to make a damn good picture. Co-writing the adaptation with Jay Cocks, Mangold doesn’t fall into any biopic traps, instead having the genre work for him. The same goes for his direction, which combines with the script to have a folk feel, while still looking at its protagonist in a properly curious manner. There’s confidence on display from Mangold, which allows it to stand alongside his best works to date.

A Complete Unknown is more than just a surefire Oscar contender. It’s also one of the best films of 2024. I was hypnotized by the acting, the music, and the vibe. The degree of difficulty here was tough, but everyone involved more than pulled it off. The movie is going to get Academy Award nominations, to be sure, but I also believe it will stand the test of time as one of the better musical biopics of late. Bravo.

SCORE: ★★★1/2