Two Great Performances Make the Muddled A Different Man Worth Watching

As a longtime advocate for the recognition and celebration of individuality, I found “A Different Man” to be a profoundly thought-provoking cinematic experience. The performances by Adam Pearson and Sebastian Stan were nothing short of extraordinary, each embodying their characters with a depth and nuance that transcended the sometimes heavy-handed narrative.

In essence, we appreciate and often profess to cherish ideas in our movies, literature, and music. We believe they provide substance instead of mere empty nourishment. However, not all ideas are equally impactful. Some lack a solid anchor for interpretation, while others can seem overly didactic and overwhelming. The ideas presented in the film “A Different Man“, penned and directed by Aaron Schimberg, straddle the line between being too vague and too explicit, but by the end, you will undeniably grasp the message. This film, however, truly shines due to its exceptional performances – the actors so seamlessly embody the ideas that the script’s layered messages become merely decorative embellishments. It is highly recommended to watch “A Different Man” for the remarkable performances of Adam Pearson and Sebastian Stan at its core.

In the movie, Stan initially dons prosthetic makeup to portray Edward, a thespian grappling with employment limited mostly to workplace-training videos. Edward is afflicted by Neurofibromatosis, a unique genetic disorder characterized by skin and bodily tumors, which significantly alters his physical appearance and speech, making him appear distinct. A scene from one of these instructional videos shows Edward feigning a faint at the water cooler; his colleagues in the video pretend to treat him with respect, but their actions are more condescending than considerate – ironically, they are the opposite of what such videos should promote. This scene serves an important purpose: it illustrates the kind of treatment Edward experiences daily. It’s no wonder he appears to be meandering through life, often submissive to others to the point of fading into the background. If he can manage to make himself unnoticeable, he will avoid the cruelty inflicted by fellow humans, whether intentionally malevolent or well-intentioned.

Living in a drab apartment that shares similarities with Ari Aster’s portrayal in “Beau Is Afraid,” Edward resides in the bustling cityscape of New York. His new neighbor, Ingrid, resembling Renate Reinsve, moves into the building, startling him initially. However, she extends friendship and perhaps more. Ingrid is an aspiring playwright, and Edward discusses his struggling acting career with her, expressing a melancholic tone. Her charm and intelligence only seem to deepen his usual melancholy. He’s accustomed to measuring his life against others, but it only brings him pain.

Later, he’s given an opportunity to undergo an experimental facial transformation treatment. To his surprise, it succeeds! His aged appearance begins to flake off, mirroring the elongation of molten mozzarella or perhaps Francis Bacon’s screaming popes in a time-lapse video, revealing a strikingly attractive young man beneath. Now Edward can experience life as others do. He ascends to a prominent position in real estate and becomes popular with women. Intriguingly, Ingrid reappears in his life indirectly—naturally, she doesn’t recognize him. Additionally, he encounters someone who bears a physical resemblance to his former self, but only Oswald (Adam Pearson) truly captures the essence of the man Edward once was. Oswald is a lively Brit known for his pocket squares and vibrant, patterned shirts. He’s charming—everyone adores him, especially women. In Oswald, Edward sees the person he could have been with his old face. Oswald symbolizes both a reprimand and a missed chance.

As soon as he makes an appearance, the movie seems to float effortlessly aloft. Schimberg previously collaborated with Pearson in his 2019 film titled Chained for Life. Movie enthusiasts may also recall the actor from his role in Jonathan Glazer’s poignant allegory of solitude, Under the Skin. Enthralled by Pearson’s self-assuredness and charisma, Schimberg penned the character of Oswald with him in mind. The instant he graces our screens, a spark ignites: Edward, previously evoking empathy, has likely garnered it. Oswald effortlessly glides past the concept of pity – we’re so captivated by him that the idea of feeling sympathy seems implausible.

That right there is a lot for a movie, and for two actors, to carry. Stan is terrific as the eternally surly Edward: his handsome pout, post-transformation, isn’t something that gives us pleasure. If anything, it makes us wish we could have the old Edward back, who at least had some shambling charm. And Pearson is off the charts as Oswald: he swaggers through the movie like its dazzling, unofficial mayor, meeting and greeting and encouraging openness, rather than closure, in the world around him. The dynamic between Oswald and Edward is rich territory by itself. The problem is that Schimberg keeps adding layers of plot to drive his points home, instead of just stepping back to let his characters do their thing. The movie sends us home with a message—let’s say it’s something along the lines of “Think hard about how you view others who are different”—even as the actors open out another way of thinking: Since we’re all individuals anyway, why see differences as differences at all? That’s an idea that goes beyond our concept of what an “idea” even is. It’s a basic tenet of living—or at least it ought to be.

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2024-09-20 22:06