‘s first comment Completely unknown Film critics have mostly praised the Bob Dylan biopic.
Directed by James Mangold, the film follows Dylan, played by Timothée Chalamet, from January 1961 to the 1965 Newport Folk Festival. Concert story. The singer-songwriter had just arrived in New York City from Minnesota, ready to explore the city’s folk music scene and achieve chart success. Along the way, Dylan courted controversy for his use of electronic instruments.
Based on Elijah Wald Dylan goes electric! Newport, Seger, Dylan and the Split Sixties Night, Completely unknown Already getting buzz for awards. The biopic was nominated for three Golden Globe Awards, including Best Motion Picture – Drama and Best Actor – Drama.
As of Tuesday afternoon, Completely unknown It has a score of 74% from 58 reviews on Rotten Tomatoes and a score of 70% from 27 reviews on Metacritic. Chalamet is a producer on the film, which opens Dec. 25 and stars Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook and Scott McNairy Also plays a supporting role.
hollywood reporterChief film critic David Rooney called Chalamet’s performance “a thrilling performance in every way” and praised the actor’s voice, which he said was “raw, nasal, husky, but full of passion, anger and sarcasm.” “intelligent” and “close enough to the original” without a doubt, but influenced by the actors’ characters to a degree that suggests something closer to symbiosis than imitation. “
“Any Dylan fan, or anyone who enjoys the music that emanated from New York City during the first half of that tumultuous decade, will find plenty to enjoy in Mangold’s masterfully crafted film,” Rooney wrote. “The era is impeccably recreated and many of the musical performance sequences are deeply moving, thanks to the superb singing by the leads themselves.”
The GuardianPeter Bradshaw writes: “Timothée Chalamet’s hilarious and alluring portrayal of Bob Dylan has made him one of the giggly, frowning men of his generation. The scowling, reluctant leader who refuses to succumb to the torments of folk purity that is his own misery, Chalamet gives us a semi-serious ordeal as part Steinbeck hero, part boy band star. Half are sacrificial gods.
this British Broadcasting CorporationCaryn James gushed about Norton, who was nominated for a Golden Globe for Best Supporting Actor.
“Edward Norton’s Pete Seeger slyly turns around and takes Dylan under his wing,” James writes. “As the film goes on, Norton is particularly good at capturing the jealously tinged respect that Dylan evokes in Seger, and when Dylan’s music begins to change, kindness turns to stern disapproval. Like all the other supporting characters, Norton himself sings, impressively. .
USA TodayBrian Truitt compared Completely unknown Mangold 2005 music biopic routing: “This Mangold effort is a fun and engaging watch, just like his excellent Johnny Cash films routing. The film doesn’t go into backstory – just a photo album and an email to “Robert Zimmerman” that pays homage to his past – and is much better in that regard. While Chalamet’s nasal pronunciation on classic songs like “Girl from the North Country” and “Blowin’ in the Wind” perfectly matched Dylan’s, his performance felt entirely authentic rather than irritating. imitate.
Brian Talerico roger ebert.com wrote Completely unknown “It’s about all the variables that shape and distort creativity.”
“Eschewing the usual superficial approach of cradle-to-grave biopics, Mangold’s film tells a formative chapter in music and world history, fluidly capturing it through solid performances, understated direction, and organic editing. The intersection of art and fame,” Talerico said. “As someone who generally hates ‘greatest hit’ movie stories about famous people, and how often they rely on printed legend rather than doing anything about it, and someone who has a strong love for the music of the deliberately mysterious Bob Dylan Man, I have admitted to expecting Completely unknown Predictably, it goes off-key. As his subject has done many times during his six-year career, this one exceeded expectations.
independent connectionDavid Ehrlich gave the music biopic a harsher review, writing that the film was “admirable but deeply frustrating.”
“The desire to rebel against beat-by-beat explanations routing Mangold may live up to expectations, but he’s not fundamentally the kind of filmmaker with Dylan’s instinct for coloring outside the lines (or his contrarianism), Mangold says. Gold strives to portray Dylan as an enigma without reducing him to a shell—a hollow man. “The musician spends much of the film fumbling his way from one moment of divine inspiration to the next, seemingly as unsure as we are of the meaning of his songs or where they might have come from.”
