A Complete Unknown is the actor’s most impressive performance to date: not merely an imitation of the young Dylan, but an interpretation of his body of work.
in 2013, precisely because Dylan has no place in the story. The Coens, who respect almost no one, respect Dylan so much they decline to show his face – yet everything hinges on the moment he takes the stage at a Greenwich Village coffee house and history is changed., James Mangold has fewer qualms. Still, he picks up almost exactly where the Coens left off, with the young and hungry Dylan huddling in his overcoat in what looks like the same mythologised version of wintry early-1960s New York.
That doesn’t make him a fraud, however. In the film’s eyes he has all the qualities needed for artistic success, including talent, ambition, discipline, and what the writer Vladimir Nabokov called “splendid insincerity” – the last of these marking his distance from the sturdy decency of folk music elder Pete Seeger, played with the faintest edge of caricature by Edward Norton.
By the time we reach the bombastic climax, it might appear the film has lost track of any distinction between Dylan the man and Dylan the persona. But I think Mangold knows what he’s doing, abandoning the pretence of realism the way Dylan abandoned the small pond of folk music, thus letting us see the film as a parable.A Complete Unknown
. There’s no doubt the film is on its hero’s side, but if we imagine his choices somehow opened the door to the world we live in now, it’s not clear he did us a favour.
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