A Different Man is a remarkable dark comedy anchored by unforgettable performances

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A Different Man is a remarkable dark comedy anchored by unforgettable performances

As a long-time movie enthusiast who has seen more than a few films about people with disabilities, I can confidently say that “A Different Man” is a breath of fresh air. It’s not often we get to see characters like Edward and Oswalt portrayed so naturally and without sensationalism. The script and visual aesthetic are truly commendable for their authenticity.

Initially, when the main character of the movie “A Different Man”, named Edward (played by Sebastian Stan), who has neurofibromatosis, is introduced to the audience, he’s heard shouting and pounding on a wall in an office setting. A colleague peeks inside after hearing the commotion and asks if he’s alright. Edward replies casually, “Yes, it happens sometimes.” The scene then shifts to reveal that Edward is acting as a frustrated office worker on a film set. Once the cameras stop recording, an unidentified director (Patrick Wang) approaches Edward and instructs him to tone down his outbursts for the next take, in order to avoid making people feel uneasy. Consequently, Edward’s intense portrayal becomes less passionate.

In simpler terms, every day Edward, a part-time actor with neurofibromatosis, lives a quiet life while dealing with constant scrutiny. Later, he undergoes a groundbreaking medical procedure that changes his appearance significantly, leading him to adopt a new identity, Guy. Meanwhile, his old neighbor, Ingrid, creates a play based on Edward’s past life. Edward yearns to act in the play but faces tough competition from Oswalt. This self-assured character stirs such a deep identity crisis within Edward that it would make any man want to shout.

Previously this year, I watched the movie titled “Fantasy A Gets a Mattress“, which centers around an autistic rapper residing in Seattle. This film stood out by challenging conventional cinematic portrayals of autistic individuals, often stereotyped as neurotypical characters playing straight men to exaggerated, comical representations of autism. Instead, the character Fantasy A is shown as a composed and self-assured figure compared to the intentionally quirky neurotypical characters. A similar approach is seen in Schimberg’s “A Different Man“. The script and visual style of this film are quite naturalistic in presenting the lives of disabled characters, Edward and Oswalt. There’s no sensationalism involved in documenting their daily routines; instead, it provides a realistic depiction of ordinary, everyday activities.

Instead of ordinary onlookers, the characters surrounding these two are portrayed as exaggerated figures. In one continuous shot, Schimberg shows Edward being cornered by a man named Guy Gaunt (played by Doug Barron). This drunken man believes he recognizes Edward from somewhere. Filming this interaction in a single long shot enhances the uncomfortable unease of their conversation. However, Gaunt’s character, acting, and costume design are captivatingly over-the-top. He’s as peculiar as an eccentric side character from the film Uncut Gems. The same style is used for other brief characters like Edward’s coworker who’s fixated on the term “man-candy” or a chatty, casually ableist man that Edward meets at another bar.

In films, people with disabilities are often portrayed as alien beings. However, in the movie “A Different Man“, a unique dark comedy arises by exposing the absurdity of able-bodied individuals. This subtle subversion challenges conventional cinematic representations of disabilities. The film’s humor is further accentuated by several witty, dark jokes, expertly crafted by Schimberg and cinematographer Wyatt Garfield.

In the darkly comedic film “A Different Man,” there are moments that border on the absurd, reminiscent of plays by Eugène Ionesco or BoJack Horseman’s emotional rollercoaster. This unique setting offers profound characters for actors like Stan, Reinsve, and Pearson to explore deeply. Among them, Stan takes on a particularly captivating role in his first significant leading part. Known for his work in the Marvel Cinematic Universe and notable supporting roles in recent indie films such as “I, Tonya,” “Destroyer,” and “Fresh,” Stan now occupies the top spot on the call sheet. He’s stepping into more nuanced material than he did with Bucky Barnes.

The unique aspect that stands out in Stan’s portrayal is how he often lets his arms hang loosely by his sides, giving an impression of detachment or indifference, even after the significant medical procedure he underwent. Edward frequently allows his hands to drift aimlessly, as if disconnected from his body, hinting at a preoccupation with his face, which others criticize mercilessly. This subtle characteristic conveys a wealth of meaning about the depth Stan invests in his character. He skillfully expands on the nuanced acting he demonstrated in “I, Tonya” to depict a man who is consistently tormented, viewing all his troubles as stemming from external sources. It’s a complex and tumultuous performance that Stan delivers with impressive finesse.

In a striking manner, Pearson stands out as a mesmerizing character in the movie “A Different Man.” He storms onto the screen with an unmatched confidence amidst a cast of individuals who are hesitant to share their thoughts or scripts. But this isn’t Oswald. Clad in vibrant Hawaiian shirts, Pearson embodies an intriguing figure exuding a warm and inviting aura. He’s the heart of the gathering, the kind of person everyone wishes they could be near. His charm is particularly striking when contrasted with Edward’s typically gloomy demeanor. Pearson delivers a compelling performance that leaves a lasting impression. Comparing this to his deliberately reserved role in “Under the Skin” highlights the actor’s remarkable adaptability. The film’s investigation into identity and subtle nuances is commendable, but Pearson’s portrayal of Oswald undeniably steals the show in this production.

While the powerful performances make “A Different Man” noteworthy, it may not appeal to everyone due to its somber tone and dark comedy, which can be quite intense, particularly in the series of emotional climaxes that accumulate Edward’s distress. However, viewers who appreciate the intricate darkness reminiscent of Hiroshi Teshigahara’s “The Face of Another” might find it appealing. This film does have its rough edges, such as Ingrid’s undefined personality in the last 30 minutes, but they serve to enhance thought-provoking themes and visuals. Furthermore, even if the black humor doesn’t resonate with you, the stunning 16mm cinematography is a sight to behold on the big screen. Essentially, it’s unlikely that you’ll be walking out of the theater feeling let down, like Edward during that one video shoot.

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2024-09-29 19:15