The current buzz surrounding ?A Complete Unknown? is indicative of the resurgence of Bob Dylan mania. With James Mangold?s new film, audiences across America are experiencing a heightened interest in Dylan that hasn?t been seen since the mid-1960s, which is when the events depicted in the biopic unfold. This renewed fascination is not just a fleeting trend but a deep-seated cultural moment that invites both old and new fans to engage with Dylan?s profound impact on music and society.
Fortunately, ?A Complete Unknown? emerges as a thoughtful and entertaining film, managing to resonate with both deeply knowledgeable Dylan fans and younger viewers who may be experiencing his artistry for the first time through the lens of Timothée Chalamet?s portrayal. The film has garnered an impressive 96% audience approval rating on Rotten Tomatoes, and Cinemascore polls reflect a solid A grade from viewers. James Mangold, known for his previous work on films like ?Walk the Line? and ?Logan,? doesn?t attempt to unravel the mysteries of Dylan?s character for the audience. Instead, he delivers something even more compelling: a vibrant energy that captivates viewers from start to finish.
In an insightful discussion with Variety, Mangold delves into the complexities of structuring the screenplay?a task he took on after replacing original writer Jay Cocks. He shares the experiences of spending 18 hours in direct conversation with Dylan, exploring the challenges of directing award-contending performances by Chalamet, Edward Norton, and Monica Barbaro. Surprisingly, he reflects on how the legendary folk singer Pete Seeger held as much significance in his youth as Dylan did, illustrating the intertwining narratives of these influential musicians.
For those who previously doubted the possibility of capturing a convincing and realistic portrayal of Bob Dylan on screen, the film succeeds in making the impossible a reality.
Indeed, some skeptics remain unconvinced by the film’s success, still believing that a true representation of Dylan’s complexity is unattainable. Even if a representation is possible, they struggle to accept it. Many express a desire for deeper insights into Dylan?s enigmatic persona while simultaneously rejecting conventional biopic formats. It seems that viewers are caught in a paradox of wanting to explore Dylan?s secrets while also yearning for a narrative that defies easy categorization. Nonetheless, the overwhelmingly positive reactions from audiences affirm the film’s ability to connect with diverse viewers.
Crafting a film about such a remarkable figure and the world he inhabited posed unique challenges. Mangold?s approach was to sidestep the allure of portraying Dylan as a mere enigma. Instead, he chose to present the events as they unfolded, allowing audiences to absorb their significance without overt exposition. It raises an interesting point: how much of a mystery can a person be when they have released 55 albums? Dylan has provided an abundance of personal expression through his extensive body of work, leaving audiences to ponder what more he could reveal to fully encapsulate his experience.
There are certainly fans who prefer not to have Dylan overly dissected, fearing that the film may attempt to explain or rationalize his motivations.
This notion has become increasingly frustrating for me. The conventional narrative structure often involves a hero grappling with a secret, leading to a struggle to conceal it, resulting in personal turmoil. Films like ?Citizen Kane? exemplify this Freudian approach, revealing the protagonist?s secret to grant audience understanding. However, I find this formula overly simplistic, particularly for a character like Dylan, who has proven to be much more multifaceted than such a straightforward narrative allows.
When it was revealed that Dylan consulted on the script and that his manager became an executive producer, many assumed the film would be a hagiography.
However, upon viewing, most audiences now agree that the film defies that expectation. When I took over the project, I sensed that Jay Cocks, the previous writer, faced constraints that limited his vision. He crafted beautiful scenes that made it into the final cut, yet there was a noticeable gap in the narrative that skipped Dylan?s early years. It jumped from his connection with Woody Guthrie in 1961 straight to 1964. I felt it was essential to explore the phases of Bob?s development and his relationships, both romantic and platonic, which understandably caused some apprehension among Dylan?s management team.
Then the COVID pandemic hit, and I received a call from Jeff Rosen, Dylan?s manager, informing me that Bob?s tour had been canceled. With his schedule cleared, Dylan expressed interest in reading the script that had caused concern among his team. After reading it, he appreciated the direction it was taking, which marked a turning point for the project. This led to a series of meetings with Dylan, during which he reviewed the film you see today. I sensed he had no issues with his portrayal because he recognized that I didn?t have a specific agenda or bias. From my time with him, it became clear that maintaining a sense of neutrality allows viewers to interpret the events based on the circumstances as they unfolded.
I often wonder what Dylan thinks while reading the script, especially when he encounters what might be the film?s most humorous line, delivered by Joan Baez: ?You know, you?re kind of an asshole, Bob.?
Yes, I wrote that line. I had numerous moments where I anticipated Dylan might object to certain statements. For example, there?s a moment where he reflects, ?You know, people ask where the songs come from, but they don?t really want to know; they want to understand why the songs didn?t come to them.? I was surprised that he didn?t challenge that sentiment.
I empathize with Dylan for (A) channeling such profound work at a young age and (B) having countless people seeking something from him so quickly. I don?t believe his demeanor was designed to elevate him to the status of a prophet. Instead, he seemed to navigate the public perception of his artistry as it developed, not merely in a literal sense, but also in how it shaped the public relations narrative surrounding him.
My interpretation of his journey, including the tales of carnival life and traveling through the Dakotas by train, reflects a young man’s longing for a narrative that diverges from his middle-class upbringing as the son of a hardware store owner. It?s as if he crafted a more alluring story for himself, which became part of his artistic identity. This desire to embrace a more romanticized version of his life resonates deeply, suggesting he was more of a dreamer than someone intent on deceiving others. Viewing him in this light has been beneficial for my role as a director working with actors.
Additionally, I observed that Dylan is a private individual with inherent contradictions in his persona. He possesses a talent that thrusts him into the spotlight, and while he enjoys sharing his music, the other aspects of fame may not align with his natural disposition, especially at a young age.
You?ve mentioned having an initial meeting with Dylan, where he asked you what the film was about, leading to a moment of clarity for you.
Yes, I articulated that I saw the film as depicting a man who is suffocating in one environment and seeking to transition to another, beginning with his departure from Minnesota. This journey encompasses themes of suffocation, escape, rebirth, and reinvention. Observers of Bob Dylan?s life will note that this pattern has recurred multiple times, not just within the time frame depicted in this movie. This realization, stemming from my conversation with Bob, shaped the film?s opening scene, where he is hitchhiking into New York, and concludes with him riding away on a motorcycle. The opening symbolizes a departure from his past, while the ending signifies an arrival in a new world, marking a transformative period in his life. It reflects an almost cyclical, musical-ballad-like rhythm in his experiences.
Director James Mangold and Timothée Chalamet on the set of A COMPLETE UNKNOWN.
Macall Polay
What initially attracted you to this project before fully understanding its deeper significance?
The most obvious allure was the opportunity to tell a compelling story about an iconic figure. The anxiety surrounding the narrative indicates that there?s an incendiary quality to Dylan?s character that adds inherent value. Moreover, the story resonates with themes I am passionate about, such as tribalism in the arts and philosophical debates. It addresses how people become entrenched in their commitments?in this case, the essence of folk music?to the point where deviating from it feels like an act of betrayal. Additionally, it explores arbitrary boundaries and the quasi-theological expectations placed on artists, which can provoke a contrarian response in those who possess broader ambitions.
My filmmaking approach, both as a writer and director, emphasizes the deeply personal aspects of storytelling?focusing on the local experiences without getting distracted by larger themes, such as changes in music and cultural dynamics. In my view, the incident at Newport ?65 serves as a metaphor for a family gathering gone awry, where long-standing tensions culminate in a dramatic confrontation. This happens because everyone is assembled for one dinner, putting immense pressure on them to coexist peacefully, which often results in a breakdown of communication and the inevitable explosion of emotions.
I find Bob?s organic evolution as a musician to be entirely reasonable. He has consistently conveyed that he never viewed himself as merely a folk singer, nor did he adhere to the dogma surrounding folk music. His artistic success in the folk genre was significant?not just in terms of popularity but also creatively?but that doesn?t imply it was a box he wanted to remain in throughout his life. For Bob, the genre was merely a canvas, and when he decided to explore different artistic avenues, it presented challenges to those who were more dogmatic about their beliefs regarding folk music. I attempted to illustrate this in a scene featuring Pete and Bob in a car, listening to Little Richard on the radio. As they come from entirely different backgrounds, Bob patiently listens, offering little resistance aside from expressing that sometimes drums and bass create a pleasing sound. However, they are not on the same page.
The portrayal of Pete Seeger in this film is nuanced, transcending the typical expectation of him being cast as the villain.
Absolutely not. He is filled with love and conviction. While he might be seen as one of the antagonists by the end, the term antagonist does not equate to villain. It simply denotes a character whose goals conflict with those of the protagonist. Regardless of the type of film I?m making, I refrain from allowing discussions of good guys and bad guys on set. For instance, Mads Mikkelsen, who appeared in my previous film ?Indiana Jones and the Dial of Destiny,? believes he is playing a character striving to make the world a better place every day. This applies to any character’s actions; even a villain like Darth Vader sees himself as doing the right thing. They may have misguided or psychologically complex motivations, but they genuinely believe in their purpose.
On a more subdued level, Pete Seeger has always been a powerful advocate for positive change, whether it be through environmental activism, civil rights, or advocating for the disenfranchised. His life?s mission has extended beyond music, emphasizing that the cause was greater than the songs he sang. For Bob, however, music is paramount. It?s about the song itself, and the mission behind it can vary for each listener. That has been my observation throughout this process.
Growing up, I was profoundly inspired by Pete Seeger. He performed at my mother?s camps in the Catskills during her youth. I listened to his records almost as much as I did Dylan’s when I was a teenager, and I played the banjo, influenced by both Pete and Steve Martin, who were both high school heroes of mine. I feel no hesitation in asserting that the film does not pass judgment on any of these figures; they are all remarkable in their unique ways.
James Mangold attends the photocall for ?A Complete Unknown? at The Curzon Mayfair on December 16, 2024 in London, England.
Getty Photographs
In exploring the dynamics presented in Elijah Wald?s book, ?Dylan Goes Electric!: Seeger, Dylan, and the Night That Split the Sixties,? you delve into the intricate relationships that led to groundbreaking music.
Absolutely. It?s my hope that the film captures this essence. I have deep admiration for Joan Baez, Bob Dylan, and Pete Seeger. Much like a family gathering, I don?t require a villain or a heavy presence in the narrative. I believe that when characters have conflicting goals yet hold affection for one another, it creates a unique and compelling dynamic.
Pete Seeger found himself facing the common challenges of leadership in the entertainment industry. He was instrumental in bringing Dylan into the spotlight, achieving his goal of expanding the reach of folk music. However, with that growth came a sense of autonomy and power for Dylan, leading him to question whether his purpose was solely to elevate folk music or to express his own creativity. These two objectives became misaligned, and that?s when the story becomes intriguing. Edward?s portrayal of this dynamic in the film is remarkable, showcasing a character who embodies a commitment to mutual understanding yet finds himself ensnared in a transactional relationship with Dylan, driven by institutional goals.
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