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A Complete Unknown is an evocative musical commentary and expertly crafted biopic following the life of Bob Dylan as he transitioned from acoustic to electric guitar. For what is both an intimate portrayal of genius and a harsh critique of character, both Timothée Chalamet and James Mangold hit the nail on the head by offering the mysterious character of Bob Dylan to the masses. Not only has he mastered the cynical art of Dylan, but Mangold has crafted a truly definitive portrait of the 1960s within A Complete Unknown.

Exploring Dylan’s journey spanning 1961 to 1965, Mangold resists the all too familiar rise-and-fall music biopic trope. Instead, he launches his audience into the muddied beginnings of young Dylan, a nomadic troubadour holding nothing but a guitar and a cigarette. Chalamet embodies Dylan exactly as we know him, not only as a prophet of 1960s counterculture but also as sarcastic and mercurial as ever. The film focuses on Dylan’s creative trajectory and the public backlash he faced as he “went electric”.

Evoking empathy in viewers after watching Dylan’s tumultuous and adulterous relationships is no mean feat, but one Mangold masters – whether this is because of Chalamet’s raw portrayal or the poetic lyricism of Dylan remains unknown. An infamously elusive character – the unrelenting hypnotism of Dylan is expertly crafted in Chalamet’s uncompromising engagement with the narrative famously sung by Joan Baez, ‘the unwashed phenomenon, the original vagabond.’  From his gritty and soul-bearing sound to his voice of protest and yearning, Dylan’s iconic sound has truly been celebrated by Chalamet’s galvanic portrayal of an era-defining musician.

Part heroine for tolerating Dylan’s adultery, and part damsel in distress, the character of Sylvie Russo is ever-so gracefully embodied by Elle Fanning. She characterises a former flame of Bob’s, Suze Rotolo, whose name he requested to be changed, and produces a stellar performance of a woman trapped in a love triangle with two of folk’s biggest stars. Joan Baez’s interpretation is arguably a weaker exhibition of character. If you are familiar with Baez’s work, your perception will likely be of a peacenik soprano whose years of activism and staggering lyricism have earned her the title of ‘The Godmother of Folk.’ Although Monica Barbaro’s embodiment of Baez’ is an enjoyable watch, there is something uncomfortable in the overwhelming femme-fatale allure of her performance.

A large portion of A Complete Unknown orders an unmitigated adoration for Pete Seeger. Edward Norton demands this from his audience in his magnanimous nature. He spurs Dylan on through the length of his career until the climax of the film when Dylan officially ‘goes electric’ at Newport Folk Festival in ’65. He debuts a short set of tracks from Highway 61 Revisited such as ‘Like A Rolling Stone’ and ‘It Takes A Lot To Laugh, It Takes A Train To Cry’ which ignited a scene of outrage, horror and screams of ‘Judas!’, exchangeable with Dylan’s Manchester concert in May of 1966. A frustrated fan hurled the same name-calling at Dylan and his band after going electric and selling out his ‘folk roots’ yet. changed rock history forever. An arc in Bob Dylan’s career that not only established the weight of his career but cemented him as a figure of controversy within music.

A Complete Unknown succeeds, undoubtedly. Chalamet has such bravado and grit that even if you want to hate this film, you simply cannot. His vocal impressions are almost spot on, as are his mannerisms and even his long yellow fingernails. Chalamet offers a poignant display of respect and appreciation for the artistry of Bob Dylan, as does Mangold. Mangold understood the weight of this project, portraying such a musical titan is no easy task yet one he has skilfully conquered.