A COMPLETE UNKNOWN: A “Free” Contrarian, But at What Price?

A Complete Unknown is …yes … Bob Dylan – even though I can’t completely see Timothy Chalamet as Bob. The music is undoubtedly Dylan and, although I wouldn’t presume to speak to Bob Dylan’s psychology, this film tells us volumes about someone bent on (personal) “freedom” at any price. Especially the cost of alienating friends and lovers. Why does someone do that? What makes a person care so little about hurting those who help and love him? I can only speculate from what I know about the deep anguish underneath being told “who to be.”

“I Won’t Be Who You Want”

There’s a deep anguish behind: “I won’t be who you want.” Someone, somewhere, in the past has made you feel that you aren’t accepted for yourself. Or, you’re told you “Should” be a different person (not who you are).

That hurts. A lot.

Is this why Bob Dylan (AKA Robert Zimmerman) ran away from Minnesota? I suppose we’ll never know. Silvie (Elle Fanning) sees something. Something he’s hiding: “You wrote a song about a girl in Minneapolis. Left with nothing but a guitar. Never talk about your family. I want to get to know that guy.” That’s not an option.

He’s angry, in the elevator, after a party with his Management “showing him off” and expecting him to perform: “200 people in that room and each one wants me to be somebody else. They should just fuck off and let me be.” He’s starting to be famous. Wanted. He likes that, in A Complete Unknown. But not any demands.

The man in the corner says: “Be what?” “Excuse me?” He’s Bobby Neuwirth (Will Harrison), another musician, a kindred rebel soon-to-be friend: “Let me be what?” Dylan replies: “Let me be whatever it is they don’t want me to be.” And, Neuwirth responds: ‘Well, I’m not a horse so I don’t like carrying anybody else’s weight.”

Dylan scoffs: “I’ve got 100 pounds of meat that don’t show up on that scale.” “How do you sing, then?” I put myself in another place, but I’m a stranger there.” He keeps himself a stranger, so that no one can pin him down.

Becka (Laura Kariuki), the girl he’s with that night, says: “Am I just more weight? I love you. Does that scare you?” Dylan recoils: “I just met you, so yeah, I guess it does” Bobby turns and walks quickly away.

Why Love Seems Dangerous

“Love” isn’t a word in his lexicon. Love means commitment, which can feel like obligation. Demands. There are feelings involved. And emotional need, if you let yourself have it. Those seem to be big “No’s,” for Bobby.

Yet, Bobby falls for Sylvie. Big time. He’s wary.  That increases the more involved he gets. Focus on music, writing songs, on himself. That’s safest. He does love her, but runs at every chance he gets. Keeps his distance. His control. Love, to him, means expectations. Yes, that’s the key word. No expectations – and he’s free to be.

And, Bobby’s particularly vulnerable after he’s no longer A Complete Unknown.

So, he fights any hint of expectation at every turn. No one likes to have to, (other key words for Bobby), jump at someone’s demands. Having obligations (imposed on you) can make you a Contrarian (Silvie’s word for him).

Yet, is a relationship about obligation? Not if you choose it. But Bobby doesn’t know about feelings. And, doesn’t like them much. Feelings can make you feel out of control. When Sylvie cries at the end of Now Voyager, with Bette Davis, Bobby looks at her as if she’s a stranger from a different planet. A Feeling/Love planet.

Bobby’s so busy being sure he’s “free,” he doesn’t think twice about whether or not he hurts Sylvie. He takes what she has to (willingly) give, (she loves him) – her apartment, food, sex, and an eagerness to be with him.

He makes promises. But when Joan Baez (Monica Barbaro) wants him, he’ll use her too, to further his career (maybe with some lack of awareness of what he’s doing?). And, he throws Joan in Sylvie’s face more than once.

“You Won’t Control Me” in A Complete Unknown

In A Complete Unknown, we see a classic case of wanting to be admired and desired – but not give back. Giving back feels like a demand for self-sacrifice, as with Pete Seeger (Edward Norton) and Toshi (Eriko Hatsuni).

As long as Pete is Bobby’s mentor and champion, which leads the way to becoming Bob Dylan, it all goes well. Even though the seeds of wanting to “need nothing from anyone but himself” were planted long ago.

What is clear with Dylan is – as it is in many who’ve been hurt by love in one way or another – he can only take something up to a point. Sure, he needed Woody and Pete’s assurances of his talent. Their paving his way.

Sure, he needed his Manager – Albert Grossman (Dan Fogler) in A Complete Unknown. To get him to where he wanted to go. Record labels, recording gigs, concerts. But he will be Dylan, not someone else’s puppet.

So, “needing nothing” is a lie you have to tell yourself if needing someone scares you. They might have control. Take you over. Hurt you. Tell you who to be. “You won’t control me” is the only refrain you sing.

That is, when it comes to relationships. But the downside is: you’re alienated and lonely. Bobby’s relationship with Sylvie shows us that in spades. His relationship with Pete and Toshi, too. These are two sad stories.

The Newport Folk Festival becomes the epitome of this fight. He didn’t want to lose Sylvie. But he wouldn’t let her have him either. So, he swung by on his motorcycle and seduced her back into his sphere. Then he hurt her.

Again. A Contrarian smashes things. Tears them down. To prove the kind of power he needs to have.

Yes, A Contrarian Has to Smash Things

No one needs to be a Contrarian if you’re: Self-assured. Confident. Secure. You only need to be contrary if you have something to prove. That chip on your shoulder? It’s there to keep your walls up. A kind of self-protection.

It’s too scary to “give in” and do Pete the justice of playing Bobby’s old folk music at the Newport Folk Festival. Instead, he turns to his fellow, drunk, rebel – Johnny Cash: “Make some noise BD. Track mud on the carpet.”

So, he does. He tears everything apart. Smashes it up. Betrays Pete, Sylvie, Joan, and, even, the crowd who love him: “Maggie’s Farm … I’m not going to work on Maggie’s Farm no more.” A woman yells: “You’re Judas!”

Smug, Bobby keeps smashing. He won’t stop: “A Rolling Stone. A Complete Unknown. With no direction home.” Where can he go from here? Sure, talent is talent. Yet, keeping people? What happens to that?

Fear makes you lonely. Drives your friends and lovers away. Fear keeps you a Contrarian. And, being a Contrarian locks you up inside yourself. Watch Bob run after Sylvie. Watch him yearning, but unable to apologize to Pete.

Look closely. Fear keeps you locked up inside yourself.  Isn’t that Bob, at the end of A Complete Unknown?

The Price of Being Locked Inside

Bobby, in his way and for various reasons (his fear of expectations, love, need, being robbed of his freedom to be), has locked himself up inside – at least the Bobby in A Complete Unknown. Fear can do that to you.

He can give to Woody Guthrie (Scoot McNairy) because Woody makes no demands on him. He’s Bobby’s idol, inspiration, and hope. In some ways, I expect, Bobby “gets” Woody’s experience of being locked up inside.

Woody’s a mirror of his own plight. Because of his disease, Woody has no choice. He can’t help it. But, then again, neither can Bobby. Yes, fear can do that to you. Being sensitive to Woody is safe. No expectations there.

After smashing things at Newport, he goes to give Woody back his harmonica. Pats him on the head. Woody’s not a threat or competitor – like Sylvie, Joan, Pete, or his managers. All who want something from him.

Bobby turns away. Again. Riding off on his motorcycle. Alone. To where? Freedom? But at what price?

You Can Run But, You Can’t Escape

You can leave, but you can’t outrun it. Your past, that is. Race off on your motorcycle whenever you must. But your past lives in your anger. The ways you close down to love. Your locked in state. The past lives in your bones.

It lives in your hate for being told what to do. In protest songs (against a war inside you). Can you hear yourself? Can you see? If so, the past, your feelings, your need for love, doesn’t have to stay A Complete Unknown.