A COMPLETE UNKNOWN (2024)

December 24, 2024

Greetings again from the darkness. As a nineteen-year-old college dropout, Robert Zimmerman traveled from his hometown of Hibbing, Minnesota to New York City so that he could play music and visit his folk hero, Woody Guthrie, who was hospitalized with Huntington’s Disease. Of course, Zimmerman became known as Bob Dylan, and his musical genius continues to this day – more than 60 years and counting. Those early formative years are recounted here by writer-director James Mangold (WALK THE LINE, 2005; 3:10 TO YUMA, 2007; FORD V FERRARI, 2019) and co-writer Jay Cocks (GANGS OF NEW YORK, 2002), who used Elijah Wald’s 2015 book, “Dylan Goes Electric! Newport, Seeger, Dylan and the Night that Split the Sixties” as inspiration.

Timothee Chalamet perfectly captures the essence of young Bob Dylan – one who was driven to write songs, and one destined to change the music scene. Was he focused? Absolutely. Was he arrogant? Without a doubt. Was he talented? So much so that for decades he has inspired other musicians and songwriters. Edward Norton is uncanny as folk icon and activist Pete Seeger, even nailing the distinctive accent and mannerisms, while Scoot McNairy plays legendary Woody Guthrie (“This Land is Your Land”), already robbed of voice by disease. The two men are taken aback by the first song Dylan plays for them – providing just the boost of confidence the young man needed to take to the streets and clubs, honing the sound that would bring joy to so many.

We get a sense of Dylan’s journey and rise to fame, as well as a couple of his romantic dalliances – specifically, artist Sylvie Russo (an odd name change for a character clearly based on Suze Rotolo) and activist and fellow folk singer Joan Baez. Elle Fanning plays Russo/Rotolo, who appeared with Dylan on the cover of his “The Freewheelin’s Bob Dylan” album, and Monica Barbaro plays Baez and gets to showcase her own lovely voice on stage a few times (as well as Baez’s frequent frustration with Dylan). Other supporting roles include Boyd Holbrook as Johnny Cash, Charlie Tahan as Al Kooper, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. All of these were key players in the development of Dylan.

Dylan’s obsession with writing is established – at the expense of most personal relationships. However, the crux of this story is the moment that transformed Bob Dylan from a folk music favorite to a musical icon. A good deal of time is spent showing the number of people who assertively fought against Dylan turning electric for the 1965 Newport Folk Festival. It’s such a classic example of an institution trying to protect its territory from change … as if the plugging of a guitar into an amp could ruin music that has constantly evolved over many centuries. Contradictory reports claim Dylan was booed mercilessly while he played that day, while other reports claim there were a few in the audience upset, but most reacted warmly to the new style. I don’t believe the film mentions that Dylan was backed that day by a good chunk of The Paul Butterfield Blues Band, but we do get to experience the new sensation, “Like a Roling Stone”.

Chalamet surprises here with his depth of performance, as well as his musical ability – singing and guitar playing. Rabid Dylan fans will surely find fault with some details, but most music fans will embrace the look at Dylan’s musical roots and the development of his genius and songwriting prowess.

Opens in theaters on December 25, 2024

WATCH THE TRAILER

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Posted by David Ferguson

SILENCE (2016)

January 5, 2017

silence Greetings again from the darkness. Martin Luther King said “Faith is taking the first step even when you don’t see the whole staircase”. Martin Scorcese’s esteemed film career could be described as unveiling that staircase, one step/film at a time. Religion, spirituality and yes, faith, have played a key role in his life and his films – most notably, Kundun and The Last Temptation of Christ, but also most of his other projects.

A high-ranking priest (Ciaran Hinds) is meeting with two younger Portuguese priests and informing them of the rumor that their mentor Father Ferreira (Liam Neeson) has reportedly renounced his faith and is now living as a Japanese Buddhist in Nagasaki. The two young Jesuit priests, Rodrigues (Andrew Garfield) and Garupe (Adam Driver) refuse to believe this and request to be allowed to track down Ferreira and bring him home. It could be termed a rescue mission, and the two men could be called missionaries, but what follows is an excruciating test of their own faith.

Martin Scorcese has been working on this passion project for more than two decades – ever since he read the Shusaku Endo novel (published in 1966). Cast members have changed through the various iterations of the project, but after the box office success of The Wolf of Wall Street, Scorcese received the financial backing to bring his vision to the screen. He co-wrote the screenplay with Jay Cocks (Gangs of New York) and the result is the visual and emotional epic that you might expect from one of the greatest filmmakers of all time.

17th century Christianity in Japan might be a difficult subject to sell to the general movie-going public, and Scorcese goes out of his way to leave unanswered the multitude of questions the film raises. Rather than wrapping it up with a clean ending, he leaves viewers craving further discussions, clarity and explanations. In other words, it lacks mass appeal and shouldn’t be confused with light-hearted entertainment.

Rodrigues is resolute in his belief that God is the answer … even when the film’s title is at the forefront. As Rodrigues and Garupe minister to the village of secret Christians (led by Yoshi Oida and Shinya Tsukamoto) at night and hide during the day, we learn of the Japanese state’s commitment to eradicating Christians and Christianity to ensure the power and isolation of the country. The oddest character in the film is that of Kichijiro (an excellent Yosuke Kubozuka). He is both guide to the priests and a constant challenge to their faith, while also providing moments of comic relief in a film with very few. Were this a Kurosawa film, this role would have been a perfect fit for the great Tishiro Mifune.

The most obvious adversary for the priests is the Japanese elder known as The Inquisitor. Issei Ogata excels in the role as a wily, half-smiling, quite knowledgeable wartime (a war on Christianity) leader intent on creating the most painful and public extermination of Christian believers and those priests who dare to infect his country (Japan’s 1614 Edict of Expulsion). The torture and persecution is too much to detail here, but it portrays how even the most ardent believers could choose life over faith.

The film blends fiction with some true-to-life aspects, and is most effective at asking questions and spurring thought. Which is more crucial – public or private faith? Is doubt allowable and even understandable? Is Rodrigues so committed to faith or is there also an element of martyrdom present? How about the “Judas” sub-plots? Is it betrayal if it saves one’s own life? Just where is that line? Is Ferreira a disgraced priest or simply a man valuing survival? The film is beautiful to look at (superb work from cinematographer Rodrigo Prieto and editor Thelma Schoonmaker) while being exceedingly tough to watch (and quite long). Be prepared to set aside time for reflection and discussion … you may even discover some surprises in your views and beliefs.

watch the trailer:

 

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Posted by David Ferguson