A Complete Unknown, the new movie about Bob Dylan’s rise in the folk-music scene of the early nineteen-sixties and subsequent electrified break with it, has been praised for not taking excessive liberties, at least by the standards of popular music biopics. Its conversion of a real chapter of cultural history has entailed various conflations, compressions, and rearrangements, but you’d expect that from a Hollywood director like James Mangold. What many viewers’ judgment will come down to is less...