What’s Fact and What’s Fiction in A Complete Unknown

As a scholar of music history, I must say that “A Complete Unknown” offers a compelling narrative, but it often blurs the lines between fact and fiction. It’s akin to trying to separate the wheat from the chaff in a field of Dylan songs – challenging, yet rewarding if you have the right tools.

As a devoted cinephile, I’m excited to share that “A Complete Unknown” is James Mangold’s second musical biopic following the gripping tale of Johnny Cash in “Walk the Line,” starring Joaquin Phoenix. In this film, Mangold adopts a more personal narrative style, chronicling the journey of a young Bob Dylan, portrayed by Timothée Chalamet, from his debut in New York City in 1961 to his electrifying performance at the 1965 Newport Folk Festival, an event that would become infamous. Mangold, along with co-writer Jay Cocks, delves into some of the earliest figures in Dylan’s legend, including Pete Seeger (Edward Norton), Joan Baez (Monica Barbaro), and an amusing overlap with Johnny Cash, played this time by Boyd Holbrook. These early supporters, following Newport ’65, are mostly left behind by Dylan as he forges his own path.

As a devoted cinephile, I’d express it this way: “The movie is inspired by Elijah Wald’s 2015 book, ‘Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night that Divided the Sixties.’ This film delves into the early career strife of Bob Dylan, portraying it as a conflict between Pete Seeger’s nurturing yet stringent traditionalism (as depicted by Norton as a Mister Rogers-esque figure with a banjo) and Dylan’s ambition for unyielding commercial and artistic triumph. The turning point of this power struggle unfolds at Newport ’65. This film, ‘A Complete Unknown,’ primarily focuses on this father-like rivalry, placing us in the audience seats experiencing the first-time performances of iconic songs like ‘Masters of War’ and ‘Blowin’ in the Wind.’ It’s a captivating biopic, with its most memorable scenes occurring when the crowd falls silent, allowing Dylan to perform.

In a recent interview with Rolling Stone, Mangold admitted that Dylan instructed him to include one entirely fabricated incident in the movie. This choice may seem questionable to those who verify facts, but it fits with the artist’s reputation for having a challenging relationship with truth. Let’s examine what is fact and what is fiction in “A Complete Unknown” based on Wald’s book as our reference.

Dylan’s first days in New York

Did Dylan really hitchhike into New York?

Initially, we find Chalamet’s character, resembling Bob Dylan, thumbing a ride with his guitar from New Jersey towards New York. Later, he strolls through Greenwich Village and queries passersby about the whereabouts of Greystone Hospital, which is housing an ill Woody Guthrie (portrayed by Scoot McNairy). Eventually, a patron at an unnamed bar (depicted by Joe Tippett, known as Dave Van Ronk) clarifies that Greystone lies back in New Jersey.

As a devoted cinephile, I can’t help but reflect on the captivating portrayal of Bob Dylan’s early days in New York. Contrary to what these initial scenes suggest, his quest for Guthrie didn’t unfold in just an afternoon at Greystone; rather, it was a journey that extended beyond, possibly even starting with a visit to Guthrie’s family home in Queens before circling back to Jersey.

Pete Seeger, rebel and father figure

Did Pete Seeger bring his banjo to court while on trial for Communist subversion?

In the movie, it’s my understanding that Seeger’s on-screen introduction is inspired by a true story. As Wald’s book describes, back in 1961, Seeger stood trial after receiving a subpoena from the House Un-American Activities Committee (HUAC), who accused him of having sympathies with communism. Just like in the film, he challenged these accusations in court by asking the judge if he could sing some folk songs to express his beliefs, which the judge refused. Unfortunately, the real Seeger was convicted for contempt of Congress.

Was “This Land is Your Land” really controversial?

On the courthouse steps, Norton’s rendition of Woody Guthrie’s timeless classic echoed, joined by the press in song after a verdict was passed. Known as one of the most cherished songs in American folk music, “This Land is Your Land” carries a contentious history. The song initially included verses criticizing issues like hunger and private property, serving as a counterpoint to Irving Berlin’s “God Bless America.” These original lyrics were omitted from later performances of the song.

Did Dylan meet Pete Seeger at the same time he met Woody Guthrie?

In the movie, Dylan, carrying a guitar, stumbles upon Guthrie’s hospital room where Seeger was already present. The bashful Dylan performs “Song for Woody”, leaving both musicians in awe. Impressed, Seeger mentors the budding artist, even offering to chauffeur Dylan to his cabin in upstate New York to spend the night with his family.

In many instances, the authentic Dylan would frequently drop by and perform tunes for Guthrie, who was battling Huntington’s disease. Notably, Seeger swiftly backed Dylan during this period. However, Wald fails to note a potentially pivotal evening in young Dylan’s life that could have been real but is often considered a fictional embellishment added by Dylan for Mangold’s film “A Complete Unknown“. It’s worth noting that the genuine Seeger did construct an upstate cabin with his wife Toshi (Eriko Hatsune).

Dylan’s rise to fame

Did Joan Baez, manager/promoter Albert Grossman, New York Times critic Robert Shelton, and Columbia Records rep John Hammond all hear Dylan for the first time at the same show?

This scene promptly presents several significant real-life characters who significantly influenced Dylan. It’s believed that the series is based on his 1961 show at Gerde’s Folk City, a legendary venue whose performance was critically acclaimed by Robert Shelton in the New York Times. This review attracted the attention of John Hammond from Columbia Records, who later signed Dylan. Interestingly, as Wald notes, Shelton also wrote the liner notes for Dylan’s first album under the pseudonym Stacey Williams. The actual Grossman, a regular at Gerde’s Folk City who promoted Baez and learned about Dylan following his signing with Columbia, became Dylan’s manager in 1962.

Did Dylan tell people he used to work at the carnival?

Yes! Dylan tells his girlfriend Sylvie Russo (Elle Fanning’s character, based on the real-life Suzie Rotolo) this self-made fable that the real Dylan told to strangers. Tall tales like these served to hide the truth that Dylan was a normal middle-class Minnesota kid who grew up loving rock ‘n’ roll and blues before switching to folk. Dylan also told strangers that he grew up in New Mexico, ran away from home several times, had already met Guthrie while traveling through California, and that he learned slide guitar from a one-eyed Black musician named Wigglefoot. Dylan tells Baez about Wigglefoot in the film, to which she says he’s full of shit.

Did Dylan write “Masters of War” as a direct response to the Cuban Missile Crisis?

In the movie “A Complete Unknown“, there’s a striking moment where Dylan observes the October 1962 Cuban Missile Crisis on TV, all by himself. As he peeks at his neighbors through their windows and notices everyone with wide-eyed fear fixated on their own TV screens, Dylan decides to play “Masters of War” at a nearby club. Moved instantly, Joan Baez appears in the audience.

As a cinema enthusiast, I can’t help but delve into the intriguing life of Bob Dylan. While in London for a month, as per Wald’s account, he penned “Masters of War.” The song was primarily influenced by the Appalachian folk standard “Nottamum Town.” However, the tense atmosphere of the Cuban Missile Crisis had a profound impact on Dylan. Wald reveals that he wrote to his lover, Rotolo, expressing his fear that “the madmen might actually carry out their threats this time” and that he was now bracing for the imminent end of the world, waiting to meet its demise swiftly without having to endure radiation.

Were Bob Dylan and Johnny Cash really pen pals?

In real life, Cash and Dylan shared a strong, male friendship, often referred to as a bromance. Mangold portrays Cash in both ‘Walk the Line’ and ‘A Complete Unknown’ as enigmatic individuals constantly teetering on the brink of collapse. However, Boyd Holbrook brings a more playful and jovial take on Cash compared to the brooding performance by Joaquin Phoenix. In both portrayals, Cash is clearly captivated by Dylan’s music.

Although it’s challenging to confirm the specific details of their correspondence, there is evidence that both Cash and Dylan exchanged letters. Moreover, the genuine Cash publicly supported Dylan’s shift away from overt protest songs by penning an article for the influential folk magazine Broadside. In his piece, Cash wrote, “Don’t criticize him until you’ve heard him. He’s still quite green… STOP TALKING! … AND LET HIM SING!

Dylan’s love triangle with Joan Baez and “Sylvie Russo”

Why is Elle Fanning’s character named Sylvie Russo and not Suze Rotolo?

In the film “A Complete Unknown“, director James Mangold chose to portray Elle Fanning as Sylvie Russo, a fictionalized version of Dylan’s real-life girlfriend, Suze Rotolo. While she appears on the cover of “The Freewheelin’ Bob Dylan“, in the movie, she is not depicted under her actual name. Instead, the decision was made to alter her name at Dylan’s request. Despite this change, all other significant characters retain their real names as depicted in historical accounts. As reported by “Rolling Stone“, this modification was a directive from Bob Dylan himself.

In the movie, Dylan and Russo first encounter each other at a concert held at Riverside Church, where we also come across music expert Alan Lomax (Norbert Leo Butz). Their initial meeting evolves into an extended, fictional date throughout the night, with Russo filling Dylan in on the social and political climate of early ’60s Greenwich Village. The pair also attend a screening of the 1942 film “Now, Voyager,” although it is unknown if the real-life duo ever watched this movie together. However, a poignant scene featuring two cigarettes from the original film resurfaces at the end of the movie.

Did Russo leaving for Rome for 12 weeks open the window for Dylan to get together with Baez?

In reality, Rotolo spent six months in Italy, but as Wald claims, Dylan and Baez were first publicly recognized as a romantic pair later during their performance at Newport ’63. In the movie, it’s portrayed that they started dating when Dylan sang “Masters of War,” with Russo being in Italy at the time. The strained yet fictionalized morning scene, where Dylan comments on Baez’s songs like oil paintings in a dentist’s office and she calls him an arrogant fellow, reflects their complex, love-hate dynamic in real life. This is followed by their nearly flawless duet of an early version of “Blowin’ in the Wind” encapsulating their true relationship.

Did Dylan and Baez not get along on their joint tour?

By 1965, their bond had turned sour, and during one of their performances, Dylan distanced himself from the microphone and refused to play his most popular tunes, insisting that his guitar was damaged. This left the audience disgruntled, and even Baez didn’t mind performing those hits on her own. Contrary to appearances, they did not quarrel on stage; however, these shows were undeniably tense. As Baez recounts in Wald’s book, “The crowd was asking for the songs that held significance for them,” but Dylan showed no interest. He confirmed this sentiment, stating, “The only thing that made me feel down when I played with her was the audience – it was like performing at a funeral home.

Cash Goes Electric!

Did Johnny Cash really play an electric set at Newport before Bob Dylan?

At the Newport ’64 event, the scenes portray the zenith of the folk revival, poised on the brink of broader mainstream recognition due to Dylan’s influence. In this film, Dylan performs “The Times They Are A-Changin'” and experiences an unexpected electric duet with Johnny Cash. The movie also gathers various stories and presents them as if they all took place during a single daytime. Although Dylan didn’t perform “The Times They Are A-Changin’,” Johnny Cash did deliver an electric set at Newport ’64; his performance dispels the common misunderstanding that Dylan was the pioneer of using electric instruments at Newport.

Bobs Dylan and Neuwirth

Did Dylan really get punched in the face after meeting Bob Neuwirth?

In the movie “A Complete Unknown,” Bob Neuwirth (portrayed as Will Harrison) plays a significant role, often serving as a guiding figure or, depending on perspective, a mischievous influence in Dylan’s life. With Dylan growing weary from the constant pressure to keep performing and reworking “Blowin’ in the Wind” due to his fans and friends, Neuwirth advises him to disregard others’ opinions about him and focus on his own path.

In reality, their encounter wasn’t as thrilling as portrayed in the movie “A Complete Unknown“. In the movie, they bump into each other in an elevator when Dylan, upset over a heated party with his girlfriend Becka (played by Laura Kariuki), storms out. Neuwirth invites Dylan to his performance, and he attends, enjoying the show unnoticed… until someone does recognize him. This leads to Dylan needing to flee, getting into a scuffle on the way out. It’s an interesting narrative that reflects Dylan’s feelings of being trapped by his early success, but it isn’t based on actual events. Perhaps this is one of those instances where the movie version of Dylan proposes a different encounter?

Recording Highway 61 Revisited

Did Dylan pick up the police whistle that he would use on “Highway 61 Revisited” from a street vendor on a whim?

In the movie, Dylan is sometimes shown working in the studio on several of his albums, with Highway 61 Revisited standing out prominently. The police whistle functions much like the feather in Forrest Gump – a recurring motif that propels Dylan towards his ultimate choice to break away from traditional folk music and embrace rock ‘n’ roll. In actuality, the whistle sounds were provided by musician Al Kooper.

In 2016, Kooper shared with Rolling Stone that he’d often wear a police whistle as a necklace back then. He’d use it in specific instances, particularly when dealing with drugs, due to his humor at the time. While recording the song, it struck him as fitting perfectly. So, he swapped the necklace for Bob’s harmonica and voila! That’s how it went down.

Did Kooper rush into the studio last-minute and, in a moment of panic, come up with the famous organ riff from “Like a Rolling Stone”?

Back in the day, I found myself stepping into the scene of “Highway 61 Revisited,” a moment that was quite unexpected for me. The producer had given me an unusual task – to swap my guitar for an organ. As fate would have it, on that very first attempt, I struck upon the riff that sent “Like a Rolling Stone” soaring into the ether. It’s one of those magical instances in the film where Dylan himself lets loose a rare smile. In actuality, the final riff you hear was the product of two rehearsals and four takes, but who’s counting?

Folkies vs. Dylan at Newport in ’65

Did Alan Lomax demand that Dylan not come to Newport to play his new electric songs?

In this film, “A Complete Unknown” portrays Seeger as a complex father figure to Dylan, while musicologist Lomax emerges as the antagonist, being the staunch traditionalist most vehemently against Dylan playing his contemporary electric songs at the folk festival. Contrary to popular depiction in the movie, it’s important to note that the real Lomax was indeed a folk purist; however, Wald argues there is no proof that he forced Dylan to skip Newport with an electric guitar.

Did Seeger and Dylan have their final showdown the morning of Dylan’s set?

In the movie, Norton visits Dylan at his hotel, discussing whether Dylan will switch back to acoustic performances. This is Norton’s opportunity to present his Oscar-worthy speech, as Seeger tries one last time to convince Dylan to go back to playing traditional folk music. Grossman compares this to Seeger urging him to keep lighting candles, while Dylan has shifted focus to selling lightbulbs (though there’s no proof that this exact conversation occurred).

Did Johnny Cash give Dylan his blessing to go ahead with his electric set?

Right after Dylan’s awkward encounter with Seeger, Dylan steps outside and finds a car loaded with Cash, unsuccessfully attempting to exit a parking space. Being an artist who often faces advice from fans and critics about his sound, Cash urges Dylan not to let others dictate what he should perform. This moment can be seen as Holbrook’s Oscar-worthy scene… but it should be noted that the real Cash was not present at Newport ’65.

Dylan takes the stage

What really happened at Newport ’65?

The film’s climax is an extended cut of Dylan performing “Maggie’s Farm,” “Phantom Engineer” (an early version of what eventually became “It Takes a Lot to Laugh, it Takes a Train to Cry”), and “Like a Rolling Stone,” followed by a solo acoustic encore of “It’s All Over Now, Baby Blue,” the set that changed his life and rock history. This is also the hardest scene to fact-check. In his book, Wald admits to the challenge of trying to parse through what happened during Dylan’s set and what has grown into myth. In the film, chunks of the audience are cheering, jeering, or crying, in joy or frustration regarding Dylan’s decision to trade folk for rock music, or because of the poor sound quality. Grossman and Lomax get into a fistfight over the sound. A frustrated Seeger spots an axe and stomps over to cut the power before his wife stops him. Cash hands a distraught Dylan an acoustic guitar so that he can finish his set. It’s a lot.

In my recollection, I can clarify a few points about the event. Seeger didn’t actually use an axe to damage anything, but later expressed he regretted not having one to quiet down the excessively loud sound cables. Grossman and Lomax had a spat, though it transpired earlier in the festival during The Paul Butterfield Blues Band’s unusually loud electric performance that apparently irritated Lomax. As for Dylan and his band, their performance was far from satisfactory, with their awkward handling of the songs being outshone by the overwhelmingly distorted sound. Interestingly, members of Dylan’s band confessed they were rehearsing those very same songs for the first time during soundcheck. Lastly, after performing “It’s All Over Now, Baby Blue,” Dylan played an extra song – “Mr. Tambourine Man.

Did someone yell “Judas!” during Dylan’s set?

Instead of Newport ’65, the incident depicted in the film doesn’t match reality. In a significant distortion of actual events, the interaction between the audience member shouting “Judas!” and Dylan ordering his band to “Play loud” closely mirrors what transpired during Dylan’s legendary 1966 Free Trade Hall show. This momentous event is vividly captured in The Bootleg Series Vol 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert.

2024-12-25 00:55