A complete unknown

Recently, I sat down to watch A Complete Unknown and found myself absorbed. It wasn’t just the music or the 1960s atmosphere that caught me, but how uncannily Timothée Chalamet seemed to become Bob Dylan. The lean frame, the half-mumbled defiance, the distant look of someone who’s already somewhere else in his mind. All of it rang true. Maybe make-up and costume had a hand in it, but there was something more than imitation going on. Chalamet captured that strange, inward energy that Dylan had in those years when he broke away from everyone’s expectations and remade himself.

But who exactly is this Timothée Chalamet, the young man behind the curly hair and the harmonica? I remembered seeing him before in The King on Netflix, playing Henry V, another restless young man thrust unwillingly into greatness. It seems to be his thing: slipping into the skin of real people on the edge of transformation, feeling their uncertainty and ambition as though it were his own.

Born in 1995 in New York City, Chalamet grew up surrounded by the performing arts. His mother had danced on Broadway and he went to LaGuardia High School, the same institution that shaped so many performers who balance talent with a touch of intensity. After a few minor roles, his moment came in 2017 with Call Me by Your Name in which he gave a performance that felt spontaneous and transparent. That film established his screen identity as emotionally open, a little fragile, thoughtful but never mannered.

Since then, Chalamet has alternated between introspective dramas and grand spectacle. Films like Beautiful Boy, Little Women and Dune added to his credibility. When he played Henry V in The King, he seemed both regal and lost, the boy beneath the crown. I could sense his fascination with power, and its emptiness.

Chalamet, of course, stands as the quiet antithesis of the traditional Hollywood leading man: the beefy, brawny hero who conquers by force. His appeal lies in a different kind of strength: the courage to appear uncertain, even fragile. He makes vulnerability cinematic again, reminding us that sensitivity and self-doubt can carry as much dramatic weight as muscle and bravado. Where others stride through chaos, Chalamet seems to absorb it inwardly, as if the real battle is always within.

Which brings me back to A Complete Unknown, his foray into the myth of Bob Dylan. The film focused on Dylan’s folk beginnings and transition to electric, the mid-1960s pivot when the folk hero turned his back on purists, plugged in and was booed for it. The title, drawn from that immortal line in Like a Rolling Stone, hinted at the cost of reinvention, how every artist must risk alienation to grow.

What was remarkable was that Chalamet did his own singing and guitar work. No miming, no studio trickery. He wanted to feel what Dylan might have felt: the rasp of voice meeting microphone, the tension between control and release. That sort of dedication wasn’t about method acting. It was about empathy, about finding the heartbeat of another creator who also chose the harder path.

Watching him, I couldn’t help thinking that A Complete Unknown wasn’t just about Bob Dylan’s metamorphosis. It was also about Chalamet’s own. At 29, he’s already negotiating that uneasy space between prodigy and artist, between fame and credibility. Like Dylan in 1965, he’s testing his boundaries, refusing to be pinned down. And maybe that’s the real connection between them: two restless spirits drawn to the idea that identity, like art, is fluid.