A Different Man (2024): Film Analysis
Key themes: Conformity Vs. Individuality, Authenticity, Nature of Attraction and Resentment
*Spoilers Contained*
A metaphorically denser, less horror-laden and dramatic version of the recent "The Substance", albeit with a stronger sense of farce. The comparison feels apt given both movies are concerning the drive to change oneself through a quasi-miracle drug that inevitably has repercussions, even if indirect.
The appeal of A Different Man from the trailer was the dichotomous grip of the two main male characters, Edward (later known as Guy) and Oswald, that both had a significant facial deformity, and that they were in competition with eachother, or at least feuding. Anticipating a cat-and-mouse thriller, the movie actually developed into a Joaquin Phoenix Joker-esque manifestation of resentment of not being able to be oneself within society, and the violent implications of that.
Returning to the first half of the movie, it touched on some significant elements of social anxiety and self consciousness within those who have a facial disfigurement. The pain embodied within the face of Edward displayed the pain of self-acknowledged difference within the crowd. Nevertheless, the Edward’s urge to "fit in", and later desire to retain his individuality post-treatment (which transformed his face into a conventionally handsome one), signaled the duality of wanting to dispense with ones "ugly" attributes, physical, attitudinal or behavioural, whilst wanting to retain the individuality of such attributes. For example, the shy innocence and unique trauma Edward had faced were abolished when he entered the vacuous corporate world, hence why he returned to acting as a person with disfigurement, despite now having what one would call a “normal life”.
The nature of this dichotomy comes very close to the notion that one must be authentic and oneself whilst simultaneously reinventing ones, which sounds contradictory. But clearly there is a true self of which Edwards later alter ego, Guy, fails to escape from due to his own personal inadequacies in acting and personality, from which we will explore later. The attempt to invent a new self, as the old self dies, is a nod to the death and rebirth motif that is found cross-culturally, and this was an interesting incarnation of that.
The second half reveals the darker "shadow" side of "Guy". His malevolent petty vindictiveness towards Oswald increases, given the reasons for resentment focusing on Oswald’s charm and competence across multiple dimensions. Guy’s" resentment eventually erupted in the form of a random unprovoked stabbing of his carer after an accident he had, which is particularly reminiscent of randomised violence by lone males or "incel" motivated extremists. A wicked and stark example of all of Guys resentment was not just the finale of a stabbing fury against a random carer for himself, but the desire to reimpose his own oppressive misfortune upon Oswald by reinserting a hole in the living room ceiling of Guys former flat, of which Oswald plans to move into. What this says is "not only do I want you to suffer, I want you to suffer what I have suffered".
The inclination towards embodying and flaunting the pain of his (Guy's) life, is not just present in these moments, but also present in the fact he wants to tell the world the horror of his own experience with deformity, and only his. It's not universalised in the story telling, he is the victim and no one else.
The final point I would draw out from this quite interesting interplay of themes is attraction and the "beauty and the beast" analogy, which is explicitly mentioned within the film. It was ambiguous as to whether the lead female character Edward initially likes actually likes him back, and thus he believed it was his physical appearance that held him back. He sought her again after his operation thinking she'd fall in love with him, when actually it was Oswald who she fell in love with. The obvious crux of this theme is that looks aren't everything and personality matters tremendously.
The emphasis on beauty and the beast was the elephant in the room here in that it was not necessarily just the outward appearance of beastliness that constituted the attractive element of Oswald, but his forward and assertive persona that appeared to enchant those around him. The beast was internal and exuded in the form of a well-rounded, well-formed man who properly integrated his character flaws, whilst Edward became resentful and cynical and later unleashed his beastliness in the form of unprovoked violence.
The nuances of this quirky, and often amusing screenplay warrants a rewatch as a reminder to not overly focus on ones unchangeable flaws, but to strive to redeem the qualities that bring light into the world for others around you.