The short version: to paraphrase Siskel and Ebert, two very enthusiastic thumbs up, and I'm looking forward to seeing it again soon. The occasional (minor) anachronism/chronological inaccuracy notwithstanding, this is both a first-class evocation of some never-to-be-repeated watershed events in pop/political cultural history, and a surprisingly sophisticated psychological exploration of what made an artistic genius tick. Plus it's just a hell of a lot of fun.
More specifically, I should add that the performances are stellar throughout; Timmy and Edward Norton (as the film's conscience, elder folk legend and mensch Pete Seeger) are the obvious (deserved) Oscar-bait, but I was also particularly surprised by and taken with Elle Fanning, who's wonderful in the thankless role of Suze Rotolo, the Sixties counter-culture's most celebrated real-life ex-girlfriend. I should also add that the art-direction/period detail throughout is itself worth the price of admission; in particular, the first-half evocation of Greenwich Village in the early '60s is going to induce many dropped jaws in anybody who was around at the time or who simply has an affection for that historical moment.
The music? Well, older readers may recognize today's title as a play on the advertising tagline for Broadway's Beatlemania, the cheesy 70s musical that essentially invented the phenomenon of the modern tribute band, and thus has much to answer for. I must admit that, along those lines, I was way skeptical going into A Complete Unknown. I mean, just what the world needs, right -- a Zimmerman repertory act; at best it would be tacky, and at worst, an unintentional evocation of the much-missed (and hilarious) Bob Dylan Impersonator's Contest they used to hold annually at the old Speakeasy club on MacDougal Street.
Well, I was wrong; when the film's recreated music is at its most successful, i.e. when Chalamet is center stage, it's across-the-board riveting and dead-on believably convincing -- with the exception of the sonic ambience of the applause in the early coffee house scenes (which for some reason sounds inappropriately huge, as if lifted from the audience audio feed at a Taylor Swift arena show) and for the otherwise terrific performance of Monica Barbaro as Joan Baez, who, probably wisely, makes little attempt to duplicate the sui generis folk-angelic vocals of her real-life character.
Bottom line: If you doubt me on this, take a listen to Chalamet doing a certain Dylan classic you may be familiar with (from the forthcoming movie soundtrack album, BTW).
I don't know about you guys, but to me that sounds both eerily accurate and quite ineffably moving.
Two final caveats: I gotta say, I kind of feel sorry for my long-time hero, keyboardist Al Kooper, whose character shows up, briefly, in the second half of the film, limned by actor Charlie Tahan, who does't look a goddamned bit like him. And speaking of ahistorical -- I was kind of shocked to realize that nowhere in any of the film's Village scenes is it suggested, either by Mangold or co-screenwriter Jay Cocks, that New York University is an actual living organism that is, at this very moment, growing inexorably leftward towards America's West Coast. 😎
Which leads us to the rest of the business at hand. To wit:
...and your favorite or least favorite bio-pic of a rock era solo musical artist or group is...???
No arbitrary rules this time; hell, if you want to nominate 40s stuff like The Jolson Story or that Cole Porter bio with Cary Grant (you know, the one where Cole isn't gay), go for it.
Anyway, in case you're wondering, my faves are the 2010 The Runaways (Kristen Stewart brilliant as Joan Jett)...
...and the 2007 What We Do Is Secret, with Shane West also brilliant as the late Germs frontman Darby Crash.
Alrighty then -- what would YOUR picks to click be?
And have a great weekend, everybody!!!
13 comments:
Beyond the Sea with the unfairly maligned Kevin Spacey as Bobby Darin
Well, Steve, glad you liked it. Saw it on opening day and my reaction is Meh.
All the little bits and pieces are good, sometimes great (I'm with you on Ed Norton), but they don't come together. To me it was Who are these people and who cares?
I don't think the movie overcomes the Myth of Dylan. Other than telling us this is very important, there is no feeling of the importance.
But to everyone else, check it out, it is not a waste of time.
One last quibble, Merrill Markoe had this nice piece about Pete Seeger's wife Toshi (https://merrillmarkoe.substack.com/p/a-complete-unknown-the-ballad-of?utm_campaign=email-half-post&r=prs3s&utm_source=substack&utm_medium=email), and I hope someone writes a similar piece about Tom Wilson, who is seen but not named (as far as I recall).
Also, the only mention of Phil Ochs is Joan Baez singing a song of his, which is possibly a brilliant inside joke.
As for the question at hand, I hate biopics because "based on a true story" means fiction, which is perfect for Bob Dylan, so I'm going with "I'm Not There."
Happy New Year
biopic - hard day's night
Timmy the C - after seeing Dune Part 2 I asked ChatGPT "I wonder if chalamet, playing muab'dib in these movies and Dylan in "a complete unknown", will emerge as the unifying leader that Tom Hanks, Wayne Johnson, or Arnold schwartznegger-thelatter not eligible for the presidency because of foreign birth - were not able to be - in his rise to the top he may make trump's granddaughter kai his partner - unlike Paul, his political and emotional partner might be the same one"
ChatGPT said:
Timothée Chalamet is certainly in an interesting position. His recent and upcoming roles—playing Paul Atreides (Dune’s messianic, reluctant leader) and Bob Dylan (a transformative cultural icon)—place him at the intersection of myth-making, charisma, and deeper cultural meaning. Your question invites a blend of speculation about his career trajectory and the potential for a unifying public figure to emerge in real life.
Chalamet as a Cultural Unifier: Chalamet’s appeal spans generational and cultural divides. His performances are often marked by vulnerability, intensity, and introspection—qualities that resonate in a time when audiences seem to crave authenticity and emotional depth. Could he evolve from a celebrated actor into a broader cultural or even political figure? Here’s how it might look:
Cultural Leadership: Like Bob Dylan, Chalamet could emerge as a voice for his generation, but through modern storytelling rather than music. His roles in Dune and A Complete Unknown signal an interest in complex characters who grapple with the burdens of leadership, identity, and responsibility. If he continues to choose roles that reflect societal struggles, he might inspire a deeper cultural dialogue around shared challenges, much like actors-turned-activists of the past.
A Unifying Presence: Chalamet’s “everyman” charm and ability to convey deep emotion without bombast set him apart from more traditionally larger-than-life figures like Tom Hanks or Dwayne “The Rock” Johnson. His quieter charisma could resonate in a way that feels less like a Hollywood spectacle and more like a genuine connection.
Kai Trump as a Partner in Leadership? The idea of Chalamet partnering with someone like Kai Trump—a descendant of a divisive political figure—carries symbolic weight. It suggests the possibility of bridging seemingly unbridgeable divides. Here’s what could make this plausible or unlikely:
Symbolic Reconciliation: Such a partnership would symbolize a new generation moving beyond the polarizations of the past. Kai Trump, being relatively young and untainted by the controversies of her grandfather, could represent the possibility of a fresh start for the Trump name, paired with Chalamet’s progressive, unifying appeal.
Challenges: Kai’s connection to her grandfather could make her a lightning rod for criticism, depending on her public persona and politics. Chalamet, on the other hand, might be wary of aligning himself with a figure tied to such a polarizing legacy.
A Different Kind of Partnership: Unlike Paul Atreides, whose partnerships were often split between duty and love, a real-life Chalamet-Kai partnership would likely aim to integrate the political and personal. If they were to team up, their shared narrative would need to emphasize unity, mutual respect, and forward-thinking ideals.
Reality vs. Myth-Making: While it’s tempting to draw parallels between Chalamet’s fictional roles and potential real-world influence, there’s a significant gap between being a cultural icon and a political leader. Actors like Tom Hanks and The Rock have toyed with the idea of running for office, but the skill sets required for acting and governance are very different.
I couldn't agree more about "I'm Not There." Cate Blanchett as Dylan? It doesn't get any better....😎
I totally agree with the choice of "I'm Not There".
I'd liked to include "Rolling Thunder Revue: A Bob Dylan Story" as a fiction movie as apparently much of the back story was made up as an inside joke. Once you know it's made up it makes you see the movie in a totally different way. Is it a successful version of the movie Dylan tried to make when he created "Eat the Document"?
Captain Al
I’m on the east end of Long Island, and there IS a Dylan tribute band out here that plays around. Been doing it for years, and they are called The Complete Unknowns.
They’re pretty good. The lead guy doesn’t stay in character and pretend to BE Bob, but he does bear a resemblance visually and vocally.
Jai Guru Dave
I enjoyed 24 Hour Party People more than I like the bands from Factory Records.
And while both Grace of My Heart and That Thing You Do are not biopics, they are wonderful odes to the 50s and 60s
I always thought of "Mike the Drummer" as the Dylan of The Weasels! Always pouting and frequently uncooperative.
:-)
Captain Al
My favorite band bio film is "My Dinner With Jimi" which is a hilarious peek into the life of The Turtles during their rise to fame in 1966 culminating with their inaugural concert trip to London the first week of June 1967. Howard Kaylan is a crack-up!
Heh.😎
Gee, the actor came across as stiff.....
Grand Theft Parsons
"What's Love Got To Do With It"
"Walk The Line"
"Sid & Nancy" are all worthy.
"Spinal Tap", "Walk Hard", and "200 Motels" were sort of biopics...
M_Sharp
"Blaze" was a good one, about Texas singer Blaze Foley. Directed and co-written by Ethan Hawke.
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