Bob Dylan is an almost mythological figure. He is a man who transcends time; although still alive and writing incredible music, he is most often recognized as a historical figure.
Many of Dylan’s most famous songs exist so purely in cultural context that they cease being “Dylan” songs—rather, they are “our” songs. Few think of “Oh Susanna” as being a song written by Stephen Foster, and few think of Jimmie Davis when they sing “You are my Sunshine.”
To lose ownership of one’s music, as it becomes such a core part of culture, is the highest honor in music, one that songs like “Blowin in the Wind” and “The Times They Are A ‘Changin” have reached.
Dylan has long weaved in and out of the cultural zeitgeist on a whim, be it with his book “The Philosophy of Modern Song” or his most recent studio album “Rough and Rowdy Ways.” “Rough and Rowdy Ways” was released in 2020 to widespread acclaim and features two vinyls of cryptic blues ballads. Published in 2022, reading Dylan’s newest book feels profoundly powerful—as though Hercules wrote a guide to being a hero—and features essays on 66 different songs and what makes them so influential.
Dylan’s latest return to publicity is in the form of a biopic called “A Complete Unknown.” Directed by James Mangold, it is set to star Timothee Chalamet as a young Dylan who, frustrated with the state of folk music, decides to embrace electric guitar, much to the rage of his fans.
The film takes its name from Dylan’s most acclaimed song, “Like a Rolling Stone,” in which he sings, “How does it feel, how does it feel? / To be without a home / Like a complete unknown, like a rolling stone.” The song marked his transition from folk artist to rock star and focuses on the experience of watching someone who betrayed you suffer the consequences of their actions.
Filled with poetic lyrics dripping with betrayal and schadenfreude, presented in an abrasive and nasally shout, Dylan distilled every feeling that comes from leaving behind an unhealthy relationship into six minutes of gospel-tinged folk rock.
The film is said to center on this feeling—specifically how Dylan felt as he left behind New York’s folk scene after realizing that it was holding him back. While Chalamet has plenty of source material to draw from, as he is playing one of the most documented musicians in history, there is one aspect that is vital to any representation of Dylan.
“Like a complete unknown” doesn’t just refer to what his former friend/lover is facing, but it is how Dylan lives his life.
Dylan has long been an enigma wrapped in a blanket of mystery, from his signature vague and poetic lyrics to the many personas he has put on while performing. There’s Bob Dylan the activist, Bob Dylan the young boy from Duluth, MN, Bob Dylan the Outlaw, Bob Dylan the rock star, Bob Dylan the jester, and so on… but all are a part of the same elusive figure who famously said, “All I can do is be me, whoever that is.”
While writing this piece, I realized that I had never actually heard Bob Dylan speak. The only time I can think of is in some footage of his performance at the Newport Folk Festival in 1964. He cracks a joke in his signature Minnesota twang and begins to sing “Mr. Tambourine Man.” This rendition happens to be my favorite—it feels like something we’re not supposed to see but something we’re supposed to read about in history books. It’s surreal in a way I cannot describe.
I have high hopes for “Like a Complete Unknown.” I hold faith in Chalamet’s talent as an actor and am excited to see one of my favorite musicians finally get a true biopic. I’m not remotely worried about its representation or accuracy or if it will over-dramatize things.
Frankly, this is Bob Dylan we’re talking about—he’s never given us too much to work with in the first place. Like he said in “Like a Rolling Stone,” ‘When you aint got nothin,’ you’ve got nothing to lose.’