
Hannah Sugars
2 Feb 2025
Timothée Chalamet plays 19-year-old Bob Dylan in this biopic, telling the story of how Bob Dylan went from a 19-year-old with $5 in his pocket to becoming one of the biggest musical stars of the day, in less than three years.
A Complete Unknown. The title struck me as fitting. Indeed, I went in blind, with little-to-no knowledge or awareness of Bob Dylan as a person – ashamedly. I can’t say I emerged from the cinema any the wiser. Did anyone? The life of Bob Dylan beyond the stage remains a mystery.
Immediately – if nothing else – I appreciated the sixties cars. My father has a profound appreciation for cars. Having been dragged to the likes of Hertfordshire County Fair(s) – yes, plural – Santa Pod and Beaulieu against my will, I know a good car when I see one. For those who have not had the pleasure of being acquainted with such places, they showcase a wide variety of cars – old and new. So, yes, I appreciated the sixties American cars and by extension the meticulously-crafted picture of the historical context in which Bob Dylan emerged. I was not alone in this, so it seems. Time Out highlighted the film's authentic depiction of 1960s New York, though they did note a desire for a deeper exploration into Dylan's internal world. We had a real sense of the times, but perhaps not so much about Dylan as a person was revealed as I had anticipated going in. I should have known better than to assume that the obscurity of A Complete Unknown was solely a marketing tactic, designed to lure me into the cinema. The words A Complete Unknown speak the truth.
The narrative spanned a narrow timeline from the early-to-mid sixties. Perhaps this was a wise choice. Bob Dylan fathers six decades worth of music. I scarcely imagine anyone wants to relive six decades. As such, I believe it is fair to say that he is one of the most widely known and consumed singer-songwriters in modern history – and it would be something of an absurdity to propose otherwise. The sheer amount of music to his name is astounding. A Complete Unknown explores Dylan’s musical evolution, blending folk, country, rock and gospel influences. The biopic features the likes of Blowin’ in the Wind, The Times They Are A-Changin’, Like a Rolling Stone and Tambourine Man, intertwined with Dylan’s rise to stardom alongside many a romantic and sexual affair.
The primary focus of the two-hour long running time is the 1960s era, characterised in large by the influence of folk and protest. In the latter half of the decade, Dylan dabbled with electronic rock and country. We secure a glimpse into his later music, increasingly marked by personal reflections and unique artistic choices.Beyond the movie narrative, the eighties saw an experimental turn and a certain inconsistency as Dylan navigated a musical identity crisis of sorts, whilst the nineties explored poignant and perhaps morbid themes such as loss and mortality. In the 2000s, Dylan made a comeback. His poetic lyricism earned him a Nobel Prize in literature in 2006. This is largely unsurprising. A Complete Unknown explores Dylan’s genius in some depth, working relentlessly into the night with no company but for a packet of cigarettes.
Timotheé Chalamet was a sensation. He was unrecognisable as himself. The internal cheek plumper and prosthetic nose weren’t sufficient to disguise him altogether, but everything from his nonchalant gait to his vocal intonation and subtle mouth movements was not in-keeping with what I know of Timotheé - if watching The Tonight Show and seeing him cycle onto the London red carpet premiere a few weeks prior is anything to go by. Timotheé’s vocals – spoken and sung - were authentic and true-to-life. The Rolling Stone UK highlighted Chalamet's dedicated five-year preparation, comprised of vocal, guitar, and dialect coaching. I can say with certainty now after having attended scrupulously to some footage of the musician beyond the stage that Chalamet’s performance was indeed reminiscent of Dylan. NME applauded his commitment, remarking that his performance reflected a distinctly deep understanding of the character, evident in every "sardonic eyebrow raise" and "careful pluck of a string.” The Guardian noted that Chalamet’s interpretation "uncannily” captured Dylan’s unique charm and musical style. If I were to evaluate the movie alone based on the Chalamet’s depiction of Dylan, A Complete Unknown earns a definite nine out of ten stars from me.
In 1961 New York, Dylan emerged as an icon in Greenwich Village. He took the small-town by storm and he embarked on an upward trajectory from then forth. On another note – pun intended – being a musician and womanizer come hand-in-hand, so it seems. The likes of Frank Sinatra, Elvis Presley, Mick Jagger and John Lennon certainly testify to this reality. Frankly, Dylan acted foolishly at times.. It is interesting to consider that the women permitted him to act in such a way, submitted themselves to him, gave him free reign to take advantage of them – in body and in soul. He was seemingly unaffected by – apathetic even, to - their needs, his heart in his music first and foremost. His musical passion presided over his male instincts. Was it tragic or admirable? Was there something infinitely more complex beneath his mask? In any case, even before his time, he seemed able to get away with near murder. Was it his quote-unquote allure? It certainly wasn’t perceptible beyond the big-screen. Perhaps it was his indifference that intrigued these women. I am certainly intrigued, if nothing else. There isn’t any real sense of Dylan beyond a surface-level. He seems to act on impulse, with little-to-no regard for the consequences.
Music was for the most part seamlessly intertwined with the evolution of Dylan’s life. The pace was slow at times. The music took centre stage over and above narrative. Often, performances unfolded from start to finish at the expense of clarity. Perhaps this reflected Dylan’s attitude to life, coasting along blissfully without a clear direction. He was guided only by the music. Perhaps I might have appreciated it a little more if I was a lover of Bob Dylan myself. Shamefully, it was my love for Timotheé Chalamet and a university project about performing culture that drew me to the cinema on this occasion. That being said, there was some notable narrative craft. The plot was perhaps carried by Dylan’s relations with folk legends Pete Seeger and Woody Guthrie, interweaved between musical interludes. There was a distinctly lovely cyclical structure, though I will say nothing more for fear I might spoil it.
There wasn’t an ending as such. This struck me as surprising, especially given that Bob Dylan is still a living human. I suppose that was precisely the point. Only, I imagined there might be some insight into his life following his peak years. A few decades were neglected altogether and as such I believe there was a scope for further exploration. A Complete Unknown covered the crucial early years that shaped the Bob Dylan that we know. Para-social relationships are complex, but despite what we think we ought to know, the ins and outs of his life remain personal. Bob Dylan might be a friend, a father, an ex-partner, a client, a neighbour, a fellow in the industry – and so on. As far as we are concerned, he is a musician - a brilliant one at that – and should be treated as such with the reverence he so warrants. A Complete Unknown does not answer our unanswered questions. A Complete Unknown does not conform to a linear time-line. But Bob Dylan is timeless. If Bob Dylan himself doesn’t know, there is little hope for the rest of us. Permit the unknown to remain unknown.