PARK CITY – The grass isn’t always greener is an axiom that has driven horror movies or “almost” horror movies since the silent film era. It’s no surprise then, that Aaron Schimberg’s “A Different Man” is clearly inspired by the noir thrillers of a time gone by. And whether you are as fascinated with that genre as the filmmaker is will determine your interest in this (sorta) tragic tale.
Partially inspired by Rouben Mamoulian’s 1931 “Dr. Jeckyll and Mr. Hyde,” and, of all things, 2017’s “Wonder,” the movie begins by introducing us to a struggling New York actor, Edward (Sebastian Stan). Unlike other actors, however, Edward suffers from extreme facial deformities which, we have to assume, has affected him since birth. He goes on multiple auditions but never gets the role. Things take a tantalizing turn though when a struggling playwright, Ingrid (Renate Reinsve), moves into the apartment right next door. There is an attraction between them, but neither is quite sure of how to handle it.
Meanwhile, Edward is approached about an experimental drug that can modify the cellular nature of the skin on his face. In theory, it could make his facial appearance look more “normal.” While anyone would expect someone like Edward to be nervous about how this treatment could affect him, both Schimberg and Stan play the moment (and aftermath) with strange trepidation. It’s hard to believe Edward wouldn’t at least be somewhat excited about the possibilities. Especially after we’ve witnessed his general practitioner remind him of the future surgeries he’ll need on his face to essentially stay alive.
Like an old school monster movie, the serum works decidedly fast. Edward is in pain throughout the process but as his skin begins to fall off he sees the visage of a man he never knew was there. When he first opens the door to his apartment the change is so dramatic that he’s completely unrecognizable. Neither Ingrid nor his building’s handyman have any idea who he is. Instead of coming clean, Edward decided to make another drastic change.
Flash forward a year and Edward has taken on a new identity as Guy. In his new life, Guy is the most successful broker at a real estate firm and the most popular guy in the office. When he discovers that Ingrid is putting on an off-Broadway play about his former life as Edward, he’s shocked. And then somehow, through the most convoluted of circumstances, he lands the lead role in the production, forced to wear a mask that was a digitally created copy of his old face. And, yes, Ingrid has no idea the inspiration for her play is actually playing the part.
Things take a turn when Oswald (Adam Pearson) appears on the scene. A man who has a similar affliction to what Edward suffered from (Pearson has neurofibromatosis in real life), Oswald is the charismatic social butterfly that Edward or Guy could only dream of. Slowly, but surely, Oswald weaves his way not into only consulting on the play, but becoming the apple of Ingrid’s eye. And then the plot takes even more unexpected (or maybe not) twists and turns. Frankly, Edward has a rough go at it.
Now it’s telegraphed pretty early on that Edward’s new life as Guy will not necessarily be the panacea to his overall problems. But as the film progresses, Schimberg steps further and further away from any grounded realism (although frankly, it started with one foot outside the door) and becomes fixated on telling a thematic tale closer to those classic noirs of days gone by. In some aspects that’s admirable, but despite Stan’s efforts, it becomes harder to care about Edward’s eventual fate. The third act often feels more like a cinematic exercise than a filmmaker who has something to say.
That being said, it’s a well-polished production. The work of make-up designer Mike Marino is super impressive and both Umberto Smerilli’s score and Wyatt Garfield‘s cinematography (shot on 16mm) creatively evoke the noir aesthetic Schimberg is going for. And while Stan is beyond committed to his role it’s Pearson whose presence captivates the screen the most. Which, we guess, is sort of Schimberg’s point. We guess. [C+]
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