By Jan Wahl–
Just when I was beginning to wonder if this was a weak period for movies, two came into my life and they are both a relief from the depressing, mundane, or disappointing. Yes, there were some recent releases that made my top list: Emilia Pérez, The Brutalist, and especially A Real Pain. But nothing had me reliving each scene until I saw these two: A Complete Unknown and The Last Showgirl.
A Complete Unknown begins in 1961 when 19-year-old Bob Dylan arrives in New York City. He has little more than his guitar, forging relationships with other musicians and singers. He tracks down his idol Woody Guthrie and crashes at Pete Seeger’s home, where it all begins for him. It is his music that connects, and you will connect to it, too.
Perhaps that is not accurate for all of you. I became a fierce Dylan follower at age 11, fortunate to have an older sister who was a major fan. It was the early sixties, and protest filled the air. Dylan’s music was fluid, articulate, and challenged the notions of self and authenticity. But how to portray this obtuse, complicated artist? Director James Mangold casted Timothée Chalamet, who put five years of study and musical practice into playing this role. Chalamet sang all of Dylan’s songs live in the film. It is remarkable, and this is a Dylan freak saying this! He makes the unknowable Dylan knowable through his music.
As Oscar-worthy as this performance is, the film itself is beautifully made. Every phase of Dylan’s life is carefully set in the period, where we see the freedom of folk singing, the civil rights movement, protesters, and assassinations. We understand where his music came from. Then, on an entirely different level, we see his need to play his music his own way, no matter the consequences.
Based on Elijah Wald’s Dylan Goes Electric, this film should receive every award possible. The costars step it up to match the lead, including a brilliant Edward Norton as Seeger, Monica Barbaro as Joan Baez, and Elle Fanning turning in one of her usual fine performances. I’ve been a fan of this young actress ever since she put on the crown as Catherine the Great in The Great. Her sister Dakota is also a favorite; talent runs deep with those siblings. But I digress. Also in A Complete Unknown are portrayals of Johnny Cash, Al Cooper, Albert Grossman, and others. Do not miss this film on the big screen.
The Last Showgirl dives deep into the soul of a seasoned showgirl whose show closes after a 30-year run in Vegas. Directed by Gia Coppola and written by Kate Gersten, the film stars Pamela Anderson as a sweeter version of Norma Desmond. She is not completely mad, but is so obsessed with her career that adapting to reality seems impossible for her. It’s a bittersweet look at a woman I have nothing in common with but was still rooting for by the end of the film.
Jamie Lee Curtis manages to steal the film from the sequins, feathers, desperation, and brief moments of joy. Curtis has the courage to look absolutely terrible, allowing for closeups of a woman who drank, smoked, and sunned way too much, and who was not able to afford plastic surgery. It is heartbreaking, gutsy, and brilliant. While not on the level of the Bob Dylan film, The Last Showgirl surprised and thrilled me with its overall question about the choices we make in our lives. It has stayed with me, and that is what a good movie does.
Jan Wahl is a Hollywood historian and film critic on various broadcast outlets. She has two Emmys and many awards for her longtime work on behalf of film buffs and the LGBTQ community. Contact her at www.janwahl.com
Off the Wahl
Published on January 30, 2025
Recent Comments