A Complete Unknown: I’ve seen it, and I don’t hate it (and Timmy Chalamet isn’t a bad Dylan)

I’m a big believer in Bob Dylan and an even bigger disbeliever in biopics. So when I heard about the inevitable release of a Dylan biopic helmed by Hollywood journeyman James Mangold, my reaction was anxiety, puzzlement, and rejection—because a genius like Dylan can’t possibly fit into the constraints of a traditional biopic.

We already have an excellent non-traditional Dylan biopic: Todd Haynes’ 2006 film I’m Not There. This film uses kaleidoscopic visuals and six different actors portraying Dylan to present this elusive, unknowable, and infinitely creative rock genius. If you want to film an artist, you should do it artistically. I’m Not There accomplished that. I doubted that Mangold, known for a more conventional style, could pull off something similar.

Moreover, there’s no shortage of good Dylan-related footage. People don’t need a biopic to learn about him. If you want to get into his music, go to Spotify; if you want to know what kind of person he is, watch YouTube clips or Martin Scorsese’s documentary No Direction Home. And if you want more in-depth knowledge, there are hundreds of Dylan biographies of fine repute. All these avenues seem more effective than watching an actor pretend to be Dylan.

Despite all these biases, out of my love for Dylan, I rushed to see A Complete Unknown once it premiered, in which Timothée Chalamet plays Dylan. Surprisingly, I don’t hate it, and I can see its reason for existence. Also, Chalamet’s performance is not so bad; he blends his own personality with Dylan’s and ends up creating a magnetic character.

One praiseworthy aspect of A Complete Unknown is that it doesn’t follow the typical rise-and-fall narrative of a music biopic. The film covers a five-year span (1961–1965). During this period, Dylan’s fame changes drastically (from unknown to folk superstar), but his personality doesn’t undergo major “growth.” In the eyes of the filmmakers, the 19-year-old Dylan, who first arrives in New York, is already a fully formed genius; all he needs is the opportunity to let the world hear his poetry and unique voice.

So, the plot doesn’t rely on drama. Instead, A Complete Unknown treats music as the true protagonist. Dylan’s signature tracks—“Song to Woody,” “The Times They Are A-Changin’,” “Blowin’ in the Wind,” “Masters of War,” “A Hard Rain’s A-Gonna Fall,” “It Ain’t Me, Babe,” “Maggie’s Farm,” and “Like a Rolling Stone”—are all performed in full by Chalamet, who spent about two or three years learning to play and sing them. Beyond that, songs by Joan Baez, Pete Seeger, and Johnny Cash also play a prominent role. Through these faithful renditions and painstaking recreation of Greenwich Village sets, the film superbly conveys the early 1960s atmosphere, placing the audience in that anxious yet vibrant moment in time.

Another strength of A Complete Unknown is the cast’s performance. Elle Fanning and Monica Barbaro may not strongly resemble Suze Rotolo and Joan Baez physically, but they compensate through mannerisms and temperament—Barbaro, in particular, nails Baez’s intelligence, self-confidence, self-respect, and pride. Edward Norton gives a straightforward near-copy of Pete Seeger—“the kindest folk singer in history”—and the typically high-strung actor’s portrayal of Seeger is touching, sweet, and reveals Norton’s range.

And yes, we have to talk about Chalamet. Whether A Complete Unknown can convince viewers hinges entirely on whether his performance as Dylan is acceptable. And he succeeds. We can’t say he fully captures Dylan’s aura—an impossible task, given how one-of-a-kind Dylan is—but Chalamet accomplishes something else: He merges his personal traits and star appeal with the shell of Dylan’s looks and mannerisms, thus conjuring a novel fictional persona. He weaves his bashfulness and charm into the shape of Dylan, turning a frequently eccentric genius into someone lovable and relatable. That’s undoubtedly a major achievement and likely something Dylan himself would be pleased to see.

No matter how people view A Complete Unknown, it’s undeniable that Dylan personally participated in and approved this project. Since the last feature film about Dylan (I’m Not There) was released 15 years ago, it’s clear Dylan intends to use this film to reach new audiences, and via Chalamet’s appealing performance, he’s succeeding. Perhaps Chalamet doesn’t convey Dylan’s edgy, cutting, pugnacious side—but that’s not a task any one person could accomplish. At this point, as a movie star, Chalamet has effectively done his part in guiding newcomers through the door into Dylan’s music. How much they’ll gain from Dylan’s vast body of work depends on each viewer’s subsequent curiosity.