A Different Man Review: A Challenging Tale of Beauty and Horror!

Typically it is simple to compare a film to others in its genre, equating a film’s successes and failures to other filmmakers who were able to capitalize on genre tropes or those that fell into overused conventions. A Different Man is one of those rare films that sways its audience to believe the story that is unfolding can be put into the category of drama and later even horror to later become an entirely different movie, just as Edward (Sebastian Stan) seems to become a different person upon his medical journey.

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Edward was born with a facial deformity that he believes hinders a “normal” way of living among society. He is part of a study for an experimental drug that attempts to “cure” him of his condition and when the drug pays off his face completely transforms into the one he always wanted. When an old friend from his “past life” begins writing a play about Edward’s story, he becomes obsessed with the new actor, Oswald (Adam Pearson), who will be playing him in the production.

Although the first part of A Different Man is stronger tonally than the second half, writer and director Aaron Schimberg defies expectations as to what a film can be, how it can unfold, and the way it challenges its audience to see his characters, and maybe even his motivations for making the film itself.

The film sets itself up with a horrifying tone in the first half to mirror Edward’s anxiety associated with how society views his outward appearance. What becomes evident later through the introduction of Oswald is how Edward’s unsettling life was being dictated by his own actions and lack of self confidence, resulting in his own unhappiness. As Oswald is introduced, and the audience sees him as an outspoken and confident man, the tone shifts and lightens to be more comedic.

Although this lighter atmosphere surrounding the film can be seen as extreme given the preconceived notions of what Schimberg was possibly trying to accomplish, a sense of horror still looms throughout, making it seem less of a 180 turn and more of challenge he decided to go for. The depressing state of how Edward lives his life when he has his deformity evolves into a terrifying look at a man obsessed and ultimately frustrated seeing a man with the same facial deformity he overcame living a better life than he ever did. The comparison of horror and beauty still exists in the film even as the tone shifts, making Schimberg’s attempt at genre shifting more successful than not.

In the way that some films feel the need to be universal in its execution, A Different Man feels genuinely and unapologetically New York as it portrays the entertainment scene through theater and actors. For better or for worse, New York being the city where Edward finds pain, then “happiness,” followed by pain again as well as Oswald seeking out and making the most of every opportunity he has to live a great life is realistic to how New York can make you or break you.

Sebastian Stan continues to show his range among the films he stars in as well as in one movie alone. Adam Pearson plays Oswald incredibly, striking a balance between the “annoying neighbor” who always seems to pop up when you don’t want him too and a man with the world at his fingertips. The distinction between them becomes wildly evident in both of their portrayals of their respective characters just as Schimberg’s exploration of outward versus inward beauty feels fresh.

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A Different Man is a film that doesn’t give answers to its audience for how to go about viewing it because it is well aware of the contradictions it possesses. It has this “meta-verse” looming over it as what is portrayed in the story can be equated to director Schimberg own motivations for making it, but it is ultimately a worthwhile watch provoking discussion.

‘A Different Man’ Rating – 3.75/5

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