MrGKB

...which is to say, a lo-fi indie from an unknown auteur that takes the existential premise of the search for meaning in a post-apocalypse world, and does nothing terribly compelling with it. The leads are a cut above amateur, but with little to actually say or do, don't make a strong enough impression to keep the viewer's finger off the fast forward button. I'd like to see the girl in something more challenging, but this appears to be her sole foray into organized filmmaking. Ditto the fellow who did most of the work putting this together; there's a lot to admire in this cheapie, but the script isn't part of that. Sturgeon's Revelation all the way.

...which should tell you that you're not going to learn anything new, nor will you be confronted with anything contentious. You will travel the ABCs of Bob Dylan's initial journey to fame and fortune in NYC and soon enough into the annals of music history when he first spread his electric wings. None of what you see and hear will bear close relationship to historical accuracy or to the genuine emotional intensity of personal conflicts.

Timothée "Dune" Chalamet, after half a decade or more of chasing this dream project, delivers the goods with a remarkably convincing simulacrum of Bob climbing his way up the ladder to eventual international success (It's worth it to note that Dylan's early record sales were far stronger in the UK than the US---check his discography for the eye-opening details). Despite his minimal resemblance to Dylan, including being three inches taller and five years too old, Chalamet nails enough in the way of details to satisfy most viewers. The supporting cast is of a piece; Ed "American History X" Norton as Pete Seeger, Monica "Top Gun: Maverick" Barbaro as Joan Baez, and Elle "Super 8" Fanning as a pointlessly disguised Suze Rotolo, purportedly Dylan's first Muse, lead a solid ensemble of players up through the performance Rubicon of the 1965 Newport Folk Festival.

All well and good. In terms of summoning an era, "A Complete Unknown" is a major triumph. That the leads all sing for real and play their instruments is quite impressive; the film's production design, art direction, costuming, and so forth is equally so. It's a shame that director James "Walk the Line" Mangold chose to stick with such a deceptively self-aggrandizing tale. Oh, wait, that's right, I forgot. Stamped start to finish with the Bob Dylan seal of approval. I'm slow, but I'm getting it.

Women don't fare well in this picture, which I suppose should come as no surprise to anyone familiar with the real-life antics of Bob and his ladies. Sarah, Dylan's first wife, gets no mention whatsoever, despite having hooked up with him early enough in 1965 to be 3-months pregnant by him when the Newport electric debacle took place; they married that November and their first son was born in January. Baez proved too critical to be ignored, and so earns more attention, but is equally mishandled when all is said and done. Likewise Fanning's character has her key impact on Dylan's life nearly erased; their abortion was what finally drove them apart, never mind the loathing of Dylan by her family, and the demands of international stardom on all concerned.

Ultimately, "A Complete Unknown" is well-titled. There's next to nothing to be learned in this nicely appointed bullet-point bio. It ought to generate a few Oscars for acting, and maybe sound, but if it takes best picture, I'll be quite surprised.