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If you took a drink every time “A Complete Unknown” cuts to a grinning cutaway like the “River of Jordan” scene from “Airplane!”, you’d have to be wheeled out of the theater on a gurney. So I wouldn’t recommend it. If you also took a drink every time “A Complete Unknown” took a cheap shot at Joan Baez, played here by Monica Barbaro (“Top Gun: Maverick”), you wouldn’t even make it to the gurney. In her first scene, Baez’s own agent can’t fathom his own client’s popularity. He accuses her of just looking at her feet. The first time Bob Dylan follows Baez on-stage he tells his whole audience her voice was “too pretty.” Dylan spends most of the rest of the film giving her crap for how many covers she performs, and when she (rightly) points out that she does also write her own songs, he dismisses her work as “an oil painting at the dentist’s office.”
Joan Baez and Bob Dylan had a tumultuous relationship, that’s common knowledge, but nothing in “A Complete Unknown” justifies the chip this movie has on its shoulder about her. The film’s criticisms about Baez are simply assumed to be correct, just like its deification of Dylan is taken for granted from the first moment he whips out his guitar. To hear Mangold’s film tell it, Bob Dylan never had to learn anything and never had anywhere to grow, at least as an artist. He was always right about music, and it justified his behavior in every conceivable situation, even if the audience can tell he’s actually being a dick. The disconnect between the movie’s tone and its content ranges from distracting to annoying. It’s a gamut few films would willingly run, for obvious reasons.
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