James Mangold would have addressed Elle Fanning a few years ago. However, such a project did not happen. “Then he remembered me from that time and asked me to come,” Elle said in an interview with the magazine Sky view about A Complete Unknownatypical biopic about Bob Dylan that premieres in cinemas this January 30 and for which Mangold could win the Oscar for best direction, adapted script (it is based on Dylan Goes Electric by Elijah Wald) and movie.
Elle Fanning plays with Passion Sylvie Russo, Bob Dylan’s first love, based on activist Suze Rotolo. “His name has changed because Bob Dylan himself spoke a lot with Jim about the script. I didn’t know him or talk to him, but wanted them to change his name because she was a private person. He never wanted to be a public figure, ”explains the actress of The seduction (Sofia Coppola, 2017).
For Elle, interpreting a real -life character implies greater responsibility. “So you address it from a different place of sensitivity because you expect to do justice.” In that sense, “there was a weight that I unconsciously felt every day because I don’t know if Bob will ever see this movie, but still, if one day he sees it, I hope I have captured that essence of his first love because he was obviously very sacred and beautiful for him. ”
Suze wrote some calls called A Freewheelin’ Time: A Memoir of Greenwich Village in the Sixties. The book gave Elle a lot of information about that relationship and, he says, there are textual scenes in the film. “In many ways, its history is very faithful to the trajectory of its relationship.” And although there are changed dates, in essence it is attached to what the couple shared.
“Suze inspired him. He really was not on the political scene until she met Suze, because she was a true political activist in the sixties in West Village, in a kind of youth movement and civil rights. Then I knew how special it was for him. So I wanted to honor that and make it true to the first loves: they inevitably don’t work, but you keep them in your heart. ”
In a way, he says, Sylvie is the one who challenges Bob to be honest with himself. That is why he loved the last scene together since he read it. “She is the last piece that he has to release to be able to turn her back and move on to the next phase of life.”
The fence between the characters is, he says, a kind of metaphor. “That shooting day was really special. And you know, I don’t have an instrument, I didn’t sing in the movie. All I had was the connection that Timmy (Timothée Chalamet, whose interpretation of Dylan has it in the list of best actor in the Oscars) and I had. So, for me the challenge was to do well.
“I mean, it’s a bittersweet scene because it’s as if she wanted to let him go and he has to let her go. But it is the moment when she really defends herself in many ways. I love that line that says: ‘I am only this person in your periphery. I am only someone outside. And I’m sure it’s fun to be you, but it’s not fun to be me ‘. And it was a very beautifully written scene. And I was happy with the way it was done. I felt that it is a small scene of iconic rupture, especially with Tears of yesteryear (Now, Voyager; EU, 1942) as a reference ”(alludes to a movie scene).
He adds: “And Sylvie in the film is really the only one that looks like the public’s eyes. She is like the person of real life: she is not a singer, she is not in that scene, she is not famous. She is a kind of lens for the audience, in many ways, and sees it as she is and loves it for what it was before fame absorbed it. ”
*Javier Pérez He reports, chronicle and interview, as well as film critic and coverage of cultural issues. Directs Hole. Nobody wants to accompany him to the cinema: he does not stop eating popcorn or talking about anything else.
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