Warning: Spoilers ahead! The Callicoon Theater recently presented director James Mangold’s latest bio-pic, the saga of Bob Dylan’s early days conquering the New York folk scene.

Called appropriately enough “A Complete Unknown,” a side reference to the refrain from “Like a Rolling Stone” as well as to the Bobster’s chameleon-like personality, the movie is, despite its many historical fudges, a complete success, as far as the theater’s audience was concerned. The elfin Timothée Chalamet mostly nailed the folk singer’s vocal mannerisms, cool sarcasm and aloof persona, while executing pretty remarkable recreations of Dylan’s tunes in live, overdub-free takes. Bob’s first love, Suze Rotolo (renamed Sylvie Russo at Dylan’s request), was convincingly played by Elle Fanning, and Monica Barbaro did a fine job portraying Joan Baez, though she and no one else will ever sing as magnificently as the Queen of Folk.

Ed Norton was especially good in the role of the great Pete Seeger, with a characterization that was spot on. Woody Guthrie is sympathetically played by a nearly unrecognizable Scoot McNairy, and the action starts with Bob’s visit with him in a New Jersey hospital.

The film’s narrative then moves along at a steady clip, with manager Albert Grossman (a goggle-eyed Dan Folger) calling the shots as the increasingly uncomfortable Dylan’s fame grows, and there are small parts along the way for actors portraying Alan Lomax, Peter Yarrow, Theodore Bikel, John Hammond (the elder) and Dave Van Ronk.

The story focuses on Dylan’s on-again, off-again romance with Sylvie, and his infatuation with Joan, which is seasoned with a dash (more than a dash) of professional jealousy. We see the poet working on material for “Highway 61 Revisited,” his first album that would be completely electric, running through takes backed by hot guitarist Michael Bloomfield and first-time organist Al Kooper. This is the session that produced, among other classics, “Like a Rolling Stone.”

When Bob heads to Rhode Island for the Newport Folk Festival, the script diverges wildly from reality in what feels like typical Hollywood style. Mangold has Johnny Cash there, played by Boyd Holbrook, though Cash was not at the festival, and Johnny advises Dylan to play his new music, meaning the blasphemous plugged-in tunes. Amplified music, in the opinion of the festival’s folk management, is strictly verboten.

But with Johnny’s encouragement, Dylan takes the stage and roars through his electric set as festival fathers look on in horror. Bob then goes back out on stage to calm the crowd, and with an acoustic guitar handed him by Johnny Cash, reluctantly sings “It’s All Over Now, Baby Blue.”

If you can put aside the historical shenanigans and enjoy the film for its effective recreation of a seminal period in American pop music, “A Complete Unknown” well worth knowing. An eight-out-of-ten stars worth, in fact.