certainly lives up to its title. You are hardly closer to understanding the soul of after watching more than two hours of this moody look at AmericaBԪַs most enigmatic troubadour. But thatBԪַs not the point of biopic: ItBԪַs not who Dylan is but what he does to us.
Mangold BԪַ who directed and co-wrote the screenplay with Jay Cocks BԪַ doesnBԪַt do a traditional cradle-to-the-near-grave treatment. He concentrates on the few crucial years between when Dylan arrived in New York in 1961 and when he blew the doors off the Newport Folk Festival in 1965 by adding a Fender Stratocaster.
That means we never learn anything about Dylan before he arrives in ManhattanBԪַs Greenwich Village with a guitar, a wool-lined bomber jacket, a fishermanBԪַs cap and ambition. And Dylan being Dylan, we just get scraps after that.
The world spins around him, Women fall in love with him, musicians seek his orbit, fans demand his autograph, record executives fight over his signature. The melds into the and the What does Dylan make of all this? The answer is blowing in the wind.
Any sane actor would run away from this assignment. Not , and BԪַA Complete UnknownBԪַ is his most ambitious work to date, asking him not only to play insecure-within-a-sneer but also to play and sing 40 songs in DylanBԪַs unmistakable growl, complete with blustery harmonica. Daniel Craig has been called brave for his role this awards season in Try playing BԪַSubterranean Homesick BluesBԪַ in front of a crowd.
The last big non-documentary attempt to understand Dylan was Todd HaynesBԪַ which split the assignment among seven actors. Chalamet does it all, moving from callow, fresh-faced songsmith to arrogant, selfish New Yorker to jaded, staggering pop star to Angry Young Man. There are moments when Chalamet tilts his head down and looks at the world slyly, like Princess Diana. There are others when the resemblance is uncanny, but also moments when it is a tad forced. You cannot deny heBԪַs got the essence of Dylan down, though.
The movieBԪַs title is pulled from DylanBԪַs lyrics for BԪַLike a Rolling StoneBԪַ and itBԪַs adapted from Elijah WaldBԪַs book BԪַDylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.BԪַ Dylan isnBԪַt a producer but did consult on the script.
ItBԪַs not the most glowing profile, though the sheer brilliance of the songs BԪַ so many the movie might be deemed a musical BԪַ show DylanBԪַs undeniable genius. ChalametBԪַs Dylan is unfaithful, jealous and puckish. The movie suggests that adding electric guitar at Newport in BԪַ65 was less a brave stand for musicBԪַs evolution than a middle finger to anyone who dared put him in a box.
In some ways, BԪַA Complete UnknownBԪַ uses some of the DNA from BԪַIBԪַm Not There.BԪַ The best clues to whatBԪַs going on behind DylanBԪַs shades are the refracted light from others, like Joan Baez, Johnny Cash, Woody Guthrie, Pete Seeger and a girlfriend called Sylvie Russo, based on DylanBԪַs ex Suze Rotolo, who is pictured on 1963BԪַs album cover for BԪַThe FreewheelinBԪַ Bob Dylan.BԪַ
is a hangdog Seeger hoping to harness Dylan for the goodness of folk, astonished by his talent. Monica Barbaro is a revelation as Baez, DylanBԪַs on-again-off-again paramour. Boyd Holbrook is a sharklike, disrupting Cash, with the movieBԪַs best line: BԪַMake some noise, B.D. Track some mud on the carpet.BԪַ And Elle Fanning is captivating as Russo, the sweetheart sucked into this crazy rock drama.
ItBԪַs Baez and Russo who dig the deepest into trying to find out who Dylan is. They donBԪַt buy his stories about learning from the carnival and call him on his facade-building. BԪַI donBԪַt know you,BԪַ Russo says, calling him a BԪַmysterious minstrelBԪַ and urging him to BԪַStop hiding.BԪַ Too late, sister.
There are some lovely moments, especially the morning after Baez spends the night and she wakes to him working on BԪַBlowinBԪַ in the Wind.BԪַ They spar a bit (he calls her songs BԪַoil paintings at a dentist office,BԪַ and she calls him worse than a jerk) but they come together on the side of his bed in their underwear, he fumbling through what will be one of the greatest protest songs in history, and she supplying delicate harmony.
Mangold BԪַ who directed the Cash biopic BԪַWalk the LineBԪַ BԪַ is always good with music and clearly loves being in this world. ThereBԪַs one scene that initially puzzles BԪַ Dylan stops on the street to buy a toy whistle BԪַ and you wonder why the director has wasted our time. Then we see Dylan pull it out at the top of the recording of BԪַHighway 61 RevisitedBԪַ and suddenly it answers all those years of wondering what that crazy sound was.
There are points to quibble BԪַ Dylan never faced a shout of BԪַJudas!BԪַ from an enraged folkie at Newport; that came a year later in Manchester BԪַ but BԪַA Complete UnknownBԪַ is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture BԪַ even if the singer who made them was as puzzling as a rolling stone.
BԪַA Complete Unknown,BԪַ a Searchlight Pictures release in theaters Friday, is rated R for BԪַlanguage.BԪַ Running time: 141 minutes. Three and a half stars out of four.