Bob Dylan is a fascinating figure, a Nobel laureate whose music defined the protest movement of the ’60s and ushered in an unforgettable electric era. The truths about him are often overshadowed by the myths that surround his persona.

In spite of the challenges, director James Mangold, known for “Ford v Ferrari,” took on the task of creating a biopic about the iconic musician. “A Complete Unknown,” hitting theaters on Christmas Day, explores the transformative four years from 1961 to 1965 when Robert Zimmerman from Minnesota evolved into the legendary Bob Dylan. The film notably features Dylan himself participating in the project.

“Bob read the script, and we met four or five times. He was always available whenever I needed him,” Mangold shares, indicating that the film is based on the 2015 book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.”

Dylan’s involvement is notable, especially given his reputation for being private. The film’s lead, Timothée Chalamet, who spent a long time preparing to embody Dylan’s character, mentioned that he only received communication from Dylan via social media recently. “Timmy’s a fantastic actor, so I know he’ll be totally convincing as me or a younger version of myself,” Dylan, 83, commented on X.

“I must say he was truly wonderful, gracious, and receptive,” Mangold recalls with a smile. “Perhaps it was because I wasn’t there to write a book or an article, but rather as a fellow artist—albeit not on his level. He saw that I was representing all characters with dignity instead of taking sides, which he appreciated since he held affection for them all.”

The characters include legendary folk singer Woody Guthrie (Scoot McNairy), Dylan’s muse and girlfriend Joan Baez (Monica Barbaro), and folk hero Pete Seeger (Edward Norton), bringing together a lineup of influential American musicians known for their social activism.

For Norton, the film offers not just a look at Dylan’s rise to fame but also a valuable opportunity for younger audiences to grasp a crucial time in American history. “These figures were deeply involved in the significant social issues of their era, which can be hard to appreciate today,” he reflects. “I hope this movie inspires people to explore and understand that important history.”

Another important character is Dylan’s first girlfriend in New York, Suze Rotolo, portrayed by Elle Fanning. At Dylan’s suggestion, her character goes by Sylvie Russo instead. Although not a musician herself, Rotolo was instrumental in igniting Dylan’s lyrical activism.

“Their bond was genuine, so I think he wanted to protect that part of her,” Mangold explains regarding Dylan’s request for the name modification. “It was clear he still holds warm memories of Suze, even after her passing, as she was significant to him before he became Bob Dylan.”

Director James Mangold aimed to steer clear of biopic clichés in ‘A Complete Unknown’

Dylan’s career is characterized by remarkable transformations, evolving from a solo singer to a rebellious rocker, then to a devout Christian, and ultimately to a seasoned storyteller. In focusing on just the early years, Mangold chose to highlight the interplay of youthful lives.

“You have a wanderer arriving in New York, starting anew with just $10 in his pocket and a song in a Moleskine notebook that he intends to perform for his idol (Guthrie), who is hospitalized in New Jersey,” he describes. “It feels like a cinematic story right from the start.”

Mangold’s film captures the subtle moments, like “two people singing ‘Blowin’ in the Wind’ in their underwear with a garbage truck rumbling outside their window,” he observes. “That instance resonates with me. It’s surprising when you consider the impact the song would have later on, unknowingly to those creating it at the time.”

The cast trained to sing and play instruments for the Bob Dylan film

Key cast members dedicated over a year to learning the intricacies of voice and music. Edward Norton, who already played the guitar, humorously remarked that mastering the banjo, particularly Seeger’s fingerpicking style, presented a real challenge.

In addition to honing his banjo skills, Norton made a concerted effort to grasp Seeger’s warm yet somewhat reserved personality.

Norton recounted, “There’s a moment in the film where Dylan and Seeger meet again after some time apart. I asked Joan Baez whether a hug would happen if they hadn’t seen each other for a while.” He chuckled at Baez’s response: “Oh, God, no! We were hippies; he came from the Depression. That banjo was his defense mechanism.” To Norton, she portrayed Seeger as having the essence of a Calvinistic preacher.

Baez also guided Barbaro in crafting her portrayal of the already popular singer, who graced the cover of Time magazine in 1962, during her relationship with a budding Bob Dylan.

Barbaro admitted, “I was hesitant to contact her at first because I viewed her as untouchable. However, I started dreaming about this project and realized I had to meet her. Joan is a courageous individual; I figured that if she were in my position, she would reach out, so I went ahead and did that.”

The discussion with Baez enabled Barbaro to move away from simply imitating her and find a more authentic expression. “Talking with her released a lot of the pressure I felt to get her character just right, allowing me to just be myself,” she said.

For director James Mangold, the film aimed to explore a fresh perspective on Bob Dylan, steering clear of D.A. Pennebaker’s 1967 documentary “Don’t Look Back,” Martin Scorsese’s 2005 film “No Direction Home,” or Dylan’s own surrealist autobiography “Chronicles: Volume One” released in 2004.

“This whole endeavor felt like a fairytale,” Mangold expressed. “I wanted to immerse myself in the lives of these individuals during that era, letting the distinctiveness of their moments, the music, and their various relationships and emotions unfold organically.”