Cert - 15

Run-time - 2 hours 20 minutes

Director - James Mangold

1961, Bob Dylan (Timothée Chalamet) arrives in New York City and takes the folk scene by storm, before shaking it up with his turn to electric.

With 2005's Walk The Line, James Mangold made the film that spawned Walk Hard, the fantastic, still-accurate spoof which should have ended the conventional music biopic. His latest feature, which sees a return to the genre, doesn't begin with the idea that Dylan (Timothée Chalamet) has to think about his entire life before he goes on stage. Instead, we see only part of his life pan out as he arrives in New York City at the dawn of the 60s to bring new life into folk music before his shocking turn to electric.

In part A Complete Unknown wants to focus on the acclaimed genius of Dylan's music. From the first chords he plays he receives instant wonder and praise from those who hear his music. Yet, throughout the film it's not just simple performance that brings the most effect, its the scenes that show the connection and impact of what's being played. More than once the camera focuses on Elle Fanning's face, playing Sylvie, a fictionalised version of Dylan's girlfriend Suze Rotolo, with emotion filling up and leaking from her eyes in response to songs which bring to further light Dylan's affair with Joan Baez (Monica Barbaro).

When music is put over personalities, while still showing the effect that it can have, the film is at its best. While there are interesting details about the possible persona of Bob Dylan, as Chalamet's appearance grows and changes to become more and more singularly Dylan, these are minimal; with much feeling like it was left on the cutting room floor. In some respects the idea of persona could also be coming through due to the occasionally imitation-like nature of Chalamet's performance. "You're kind of an asshole, Bob" observes Baez, while "kind of" feels somewhat of an understatement how much is performance in response to feeling constrained by the folk scene could do with exploring.

The music takes priority, and there's a lot to provide an energetic kick. While Edward Norton's Pete Seeger (a warm and gentle figure who could almost fill in for Mr Rogers) says early on "a good song can get the job done without the frills; no drums, no electric instruments" he, too, is shaken up when the young man he launched onto the scene goes electric. Yet, pretty much each track throughout helps to eventually move the run-time along consistently, especially in the second half - perhaps helped by my leaning towards this part of Dylan's career rather than his folk work as a whole.

Despite some occasional unevenness, as there is with Dylan himself, particularly in regards to relationships, there's a lift and drive to the music. Emphasising character emotions and interactions in a similar way to a musical. In the best moments it helps to form communication, and forgiveness when the central figure comes across unpleasant.

Four stars