Those two albums were recorded roughly in the period covered by James Mangold’s “A Complete Unknown,” the most recent cinematic tribute to Dylan, starring Timothée Chalamet, and the latest stone added to the Everest of such works. Though the drama begins and ends with Dylan’s devotion to Woody Guthrie’s work, the movie makes vividly clear how much more anarchic and exciting Dylan seemed than folk music’s other standard bearers, singer-songwriters like Pete Seeger and Joan Baez, since they were stuck not only lamenting injustice but also promoting an agenda for social change. Dylan’s lyrics, on the other hand, mostly seemed to suggest It’s All Absurd or, more pointedly, They’re All Assholes, a sentiment that adorned more than a few political lawn signs in 2024. A huge number of our cultural heroes, fictional and otherwise, have prided themselves on not being political, on their individuality as their ultimate value. Think of our western heroes, or our private eyes, or the way so many presidential candidates, the very definition of the triumphant insider, try to position themselves as outsiders. And as anyone who has attended one of his concerts knows, the central characteristic of Dylan’s career has been to not do what’s expected of him, even to the extent of putting out one of the most godawful Christmas albums in the history of the genre. Dylan’s version of rebellion much more resembles that of Brando’s in “The Wild One.” When asked, “Hey, Johnny, what are you rebelling against?” Brando famously replied “Whaddaya got?”