Rediscovering Dylan: My Review of “A Complete Unknown” and the Timeless Power of Artistic Transformation
This review of A Complete Unknown contains spoilers — but it’s about a famous figure whose story is already well-known, so consider yourself warned.
While researching my book Hello Again, a story about a world-renowned guitarist, I found myself tumbling down some fascinating rabbit holes. One of them led to a series of YouTube videos about restoring a yellow 1963 Fender Telecaster. That guitar once belonged to Mike Bloomfield, a key player in the 60s and 70s Chicago blues scene. Bloomfield played with the Paul Butterfield Blues Band, best known for their cover of Muddy Waters’ “I Got My Mojo Working.”
This guitar also made history when Bob Dylan famously went electric at the 1965 Newport Folk Festival, a move that outraged the folk music community. That pivotal moment serves as the dramatic climax of A Complete Unknown, a biopic named after a lyric from Dylan’s iconic song, “Like a Rolling Stone.”
I approached the film with two perspectives: one as a music historian and the other as a storyteller.
Timothée Chalamet stars as Dylan and also produced the film. It opens with Dylan arriving in New York, determined to visit his idol, Woody Guthrie, who was being treated for a neuromuscular disorder at a psychiatric hospital in New Jersey. (Why it was a psychiatric hospital is unclear.)
Chalamet brilliantly captures Dylan’s quirks and mannerisms, and the cast’s decision to perform their own music adds a raw authenticity. During Dylan’s visit to Guthrie, who was nonverbal by this point, he meets Pete Seeger, played by a nearly unrecognizable Ed Norton. Norton’s portrayal of Seeger as a mentor and friend to Dylan is a far cry from his more intense roles in American History X or Fight Club, but it’s deeply compelling.
The film also delves into Dylan’s tumultuous, on-again, off-again relationship with fellow folk legend Joan Baez. Monica Barbaro, an actress I hadn’t encountered before, delivers a standout performance, portraying Baez with elegance and depth.
The final scene, depicting Dylan’s electric performance at Newport, felt slightly exaggerated compared to historical accounts. Even so, hearing the recreated sounds of that 1963 Fender Telecaster on-screen sent chills down my spine.
Dylan’s character is endlessly fascinating. Like many artists, he’s portrayed as prickly and enigmatic, with speculation about whether he might be on the autism spectrum. As someone who resonates with similar traits and suspects I’m on the spectrum myself, I found this part of his character especially relatable.
The film’s strongest theme is about staying true to one’s artistic vision. Dylan’s growing disillusionment with the folk and protest music scene, especially after the assassinations of President Kennedy and Malcolm X, drove him to explore new creative directions. Despite facing backlash from folk purists like Pete Seeger, Dylan’s Highway 61 Revisited became a groundbreaking album that redefined music history. This isn’t hyperbole — it’s fact.
The performances are exceptional, and Chalamet deserves serious Oscar consideration. That said, the storytelling could’ve been sharper. The character of Sylvie, seemingly a composite of several of Dylan’s real-life relationships, felt somewhat contrived. Sylvie was well-acted by Elle Fanning, but the character felt a little hollow to me.
Despite this, the film as a whole is outstanding.
Rating: 8/10.
On a personal note, watching films like this, Bohemian Rhapsody, and Get on Up make me hopeful for The Eternal Encore. Musical transformation stories resonate deeply with audiences, and I believe it has the potential to find its own devoted following.
Declare it and fulfill it.
P.S. Until tonight, I’d never listened to Highway 61 Revisited in its entirety. Mike Bloomfield’s electrifying lead guitar paired with Al Kooper’s haunting organ work is a revelation. This album truly lives up to its legendary status.
