A Complete Unknown and Babygirl: Very different sounds coming from Chalamet and Kidman
Dustin Chase
December 25, 2024 —If you choose Bob Dylan for Christmas this year, you will find an unconventional musical biopic showcasing Timothee Chalamet‘s musical and acting range. The sounds coming from the non-family-friendly “Babygirl” are a different kind of noise.
Director James Mangold mastered the musical biopic back in 2005 with “Walk the Line.” Award-winning performances by Joaquin Phoenix as Johnny Cash and Reese Witherspoon taking home the Oscar as June Carter. “A Complete Unknown” follows 19-year-old Robert Allen Zimmerman, who would eventually become music legend Bob Dylan (Chalamet). Unlike the more traditional “Walk the Line,” which showcases the broad history of a musical artist, “A Complete Unknown” focuses on a short period of the artist’s long-spanning career. Chalamet already proved his singing chops in “Wonka,” but this is more than we’ve ever seen from him before. Not only does he sound like the iconic folk singer, intentionally rough around the edges, but he also sings and plays live.
For Dylan fans, “A Complete Unknown” is a walk down memory lane, and the film packs so many early hits in a short time. Those unfamiliar, Mangold isn’t interested in turning the curious into fans. In fact, nothing in the script or on-screen sugarcoats Dylan’s behavior or treatment of women during the area. While it doesn’t go as far as to paint Dylan as a jerk, it’s neutral and allows the audience to make their own assessment. The supporting cast is also quite impressive: Monica Barbaro as Joan Baez, Edward Norton as mentor Pete Seeger, and girlfriend Sylvie Russo played by Elle Fanning. The film wouldn’t work without Chalamet’s dedication to the material and his own charisma to counterbalance Dylan’s narcissism.
"Chalamet’s dedication to the material and his own charisma counterbalance Dylan's narcissism."
The only thing “Babygirl” and “A Complete Unknown” have in common is that we wouldn’t be talking about either film without its leading star. Nicole Kidman elevates what would otherwise be a discarded “discussion” film that wrapped up as an erotic thriller. The writer and director Halina Reijn might get your attention with the button-pushing trailer, but “Babygirl” is more about the conversation you have after the film.
High-powered CEO (Kidman) ignites an affair with one of her interns (Harris Dickinson); she risks everything she has worked for professionally and her kids and husband (Antonio Banderas) at home. Reijn and Kidman explore the “why” more than the craving, opening dialogue on women’s unsatisfied needs. “Babygirl” wants to be many things: envelope-pushing, unconventional Christmas film, and conversation starter. Kidman is too popular, too talented, and simply overqualified for this type of character. However, “Babygirl” couldn’t have made it into theaters or mainstream without the Oscar winner’s profile.
Both “A Complete Unknown” and “Babygirl” appeal to award voters, and Chalamet is already racking up nods from Golden Globes, Critics Choice, and other critic groups. “A Complete Unknown” is also finding its way onto and at the top of best-of-the-year lists. “Babygirl” is struggling to find its way into the award conversation, landing as more of a social media play than an award player.