We all know of Jeffrey Dahmer, the monster that was exposed in 1991 for his twisted murders — but how he came to be remains relatively hidden. Based on John “Derf” Backderf’s acclaimed graphic novel “My Friend Dahmer,” director Marc Meyers spins a deceptive adaptation that chronicles Dahmer’s teenage years amid familial struggles and the inability to fit in at school. As this eerie biopic unfolds, audiences will experience Dahmer’s gradual descent into twisted evil, edging closer to the serial killer we all know him to be.
Set in the late 1970s, Dahmer (Ross Lynch) is a social pariah at his high school, one who simultaneously endures the mental instability of his mother Joyce (Anne Heche) and the tireless worrisome of his chemist father Lionel (Dallas Roberts). Pressured into finding a means of acceptance, Jeffrey lashes out in jarring ways to draw attention. As a result, Dahmer’s sporadic episodes catches the attention of Derf (Alex Wolff) and his exploitive posse. Soon, Derf and his circle befriend Jeff and abuse his weirdness — eventually appointing him as the group’s absurdist mascot.
As Derf’s exploitation of Dahmer spirals into sideshow-esque proportions, not only is Dahmer’s progression into madness exhibited, audiences are presented with an additional critique of society’s ceaseless endeavor to unearth moral justification beneath its cultish fetishization of a notorious cannibal.
With all this to say, this well-crafted biopic about a perverse murderer poses a highly debated dilemma: are serial killers inherently evil or are they nurtured into malevolence by their surroundings? The latter appears to make the most convincing case with “My Friend Dahmer,” as it explores a multitude of variables when considering Dahmer’s forlorn demise.
Whether it be his repressed sexuality, his mother’s mental illness and its toll on his own, or Derf’s shallow friendship, there is much proof to believe that Dahmer was pushed over the edge into his final form. As Dahmer becomes gradually unhinged, the result is a mostly disturbing, yet oddly empathetic look into how one of the most sickening serial killers in American history was cultivated.
Yes, “My Friend Dahmer” is in fact, oddly empathetic. While I do not consider this elicited emotion moral, it goes without saying that the best filmmakers manage to evoke conflicted emotions within audiences all the time. With this in mind, it’s hard not to praise Meyers for being able to incite this ironically empathetic catharsis. Likewise, former Disney Channel star Ross Lynch should be lauded for his convincing role as Dahmer. There’s an overwhelming misery to Lynch’s portrayal — twisted, but ultimately worn with a sense of isolation destined towards psychotic malignity.
While Dahmer’s quirks go far beyond those of the average, socially awkward teenager (an intense fascination with the inner biology of animals should have raised red flags), we should really ask ourselves while watching “My Friend Dahmer,” should we feel sorry for this inexorable monster? Well, the answer depends on whether or not you believe it takes a village to raise a child.
Even though viewers must grapple with this ethical dilemma, Meyers does an incredible job by not forcing the viewer to choose either end of the spectrum. Accordingly, the viewer is shown hints of possible indwelling evil within Dahmer from a young age. At the same time, Meyers offers a glimpse into Jeffrey being pulled between the pressures of fitting the social norm and expectations from a hellish home life — a sentiment we can almost all resonate with.
Although the film depicts a fledgling psychopath salvaging roadkill with his bare hands, soaking them in acid in order to collect their bones and finding himself flirting with murderous intentions on several occasions, Meyers’ drama is paradoxically humane and affecting — a direction few thought was possible when deliberating the essence of a real-life monster. “My Friend Dahmer” is a clever yet gnarled misdirection of expectations considering we all know what will be of Dahmer once the events depicted in the film have passed. [B]
