Best Supporting Actor 2024: Edward Norton in A Complete Unknown

Edward Norton received his fourth Oscar nomination for portraying Pete Seeger in A Complete Unknown. 

Edward Norton isn’t the star of this biopic focusing on Bob Dylan (Timothee Chalamet) but he very much gets to perform in a biopic role in the then established folk singer Pete Seeger. The real Seeger having a very distinct manner to himself with this almost country preacher relaxed manner and his kind of sing songy way he would speak as almost a country twang despite being from New York. The musician was very unique to say the least, so part of Norton’s performance is bringing that sing-songy quality to his own voice that is more than a little mannered all by itself. And what Norton does is more or less what Seeger sounded like however I will say it never quite hit that happy medium for me where Norton felt entirely like this was the voice of Seeger and not Norton trying to do the voice Seeger. It isn’t that I think he does it poorly even if the attempt still felt evident to me to create the voice rather than just expressing it with a natural ease that I found completely convincing as is the case with the very best performances of the ilk. And maybe he should’ve been more of an evocation rather than trying for the exact idiosyncratic quality, but still doesn’t completely work for me. What works better though his physical manner as Seeger which is very different from what Norton became known for in his early intense performances, as he plays an adamant peace loving pacifist and Norton way of cocking back, walking slow in his particularly relaxed movement and having this easy way about him, that is where while I still saw Norton, what I did feel was a presence of someone seeking to find connection and peaceful persuasion than hate. We do get some performance scenes where Norton plays the banjo and even leads a crowd with ”Wimoweh”, which Norton performs admirably enough albeit not the focus of the film, though honestly what I like most of Norton’s performance in these moments is his minor bits of hesitation which reflect someone who knows he’s not the biggest of the stars but more often than not is happy to play along. Frequently this idea of contentment being an innate acceptance, such as when we see him at home, where he is a bit of a fuddy duddy in a certain sense, and Norton delivers earnestly with a hint of knowing of someone who knows he’s that, but also absolutely accepts that about himself. 

Part of the character of Seeger here is to be the establishment of the folk scene who helps to introduce Dylan, and often literally introduces him. In that Norton literally introduces Dylan several times throughout the film along with some other singers and Norton goes about this with proper introductory qualities…I guess. The dramatic shift, theoretically as I don't find it particularly dramatic in this film, is as Dylan wants to expand his musical repertoire beyond the confines of the folk genre. Something that Seeger ends up being an aspect of in creating the overall conflict. Although we get his first scene at the folk meeting, where potential problems with Dylan are first discussed, Seeger comes in with a mediating voice, which where Norton is best in this performance is kind of in and around the mannerisms. And once again I don’t think the mannerisms are bad, but what Norton does most successfully is accept the role of the supporting character in a way, which is through his often silent reactions in a given scene. This scene for example Seeger just cautions the folk festival committee to not be too dogmatic, and Norton’s very good in his reaction behind the line where he conveys the sense of concern for his old protege. Something however that is contrasted when he too comes to talk Dylan out of “going electric” at the climactic concert, which Norton brings a nice warmth within the undercurrent of the quietly frustrated urging as Seeger makes almost a parable out of it otherwise, suggesting the old mentor still caring even as he gets into conflict. The climax itself, which the intention of why it is the climax is a little lost on me, when Dylan’s electric turn is met with very mixed results to understate, Seeger is one of the people reacting to it going so far as trying to turn the sound down and considering cutting it off with an axe. Transitions I’m not sure make perfect sense to the Seeger we know, except that I do like how Norton again non-verbally plays the scene because even as he goes to intend to shut Dylan down his eyes evoke a sense of concern even then. I do even like the whole reaction to the axe bit, because when his wife stops him, and Seeger says okay, Norton has kind of a double take where you see the internal quick moment of realization that he’s lost his head in the moment as he nearly smiles about himself going too far. Although the film doesn’t give a proper moment to really let Seeger reconcile with Dylan, we see him watch as he drives off the next day which Norton again handles well by expressing clear admiration in the glance, but it does feel like there should’ve been a scene of acceptance or something more than what we get. 

I purposefully went out of order in this review, because within the confines of the overall film, Norton’s role ends up being more reduced as the film goes on, though he’s in the film throughout, but the best scenes of his work I do think very much are in the opening act of the film, which also happens to be the best section of the film. The section when Dylan is a complete unknown just trying to establish himself and doing so by going to visit the dying Woody Guthrie (Scoot McNairy) in the hospital. Before that we are given Seeger’s most personal story scene where we see him dealing with the courts related to his political activities, and we see Seeger brings his same quiet sensibilities to facing down Federal charges as he does anything else. A scene that I think had potential, but the fact that the film never bothers to follow up with it in any way whatsoever does cause me to question its inclusion, particularly as Seeger’s political convictions barely come up otherwise. Regardless it leads us to the best scenes in the film which are whenever we go see Guthrie, where Seeger frequently visits him and it is where both first meet Dylan together. Here’s where some of Norton’s best work is within the film largely again through his quiet reactions in the scenes. When you see him talk and look at Woody, Norton internalizes the quiet sense of grief beautifully and evokes a long friendship with the man even though that friendship is never focused upon. Norton does just through silent performance and his expressions particularly the understated joy when he sees that Woody is finding any joy in something, like when Dylan sings to them. When later he says he’ll tour the world a bit away from him, the quiet resignation in Norton’s eyes speaks to the possibility of never seeing Woody again, and you are granted that connection and history the two share. It is to the point honestly that I wish the film was about this relationship but unfortunately it is not and we don’t see Seeger check in with Woody again, which is a shame. Regardless I do like this performance, did I absolutely accept him as Seeger the person? No, but in terms of bringing a calm, tender mentor energy and crafting history that was lacking or missing on the page, I thought Norton delivered nicely.