He is the definition of a wallflower, someone so nondescript that he easily fades into the background, ignored and forgotten.
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It never seeks to find answers for what turns a man into a serial killer, instead examining the questions and idiosyncrasies around Dahmer. The result is a deeply haunting, unsettling and unexpectedly moving film, one that makes all the right decisions at almost every turn. Instead, he constructs the film as a teenage coming-of-age drama, albeit where the "coming-of-age" is a process of destruction rather than construction, and we watch as all the pieces fall into place for the man Dahmer will eventually become. The details of Dahmer’s crimes are unimaginably horrific, but Meyers wisely never addresses them. While the book works from Derf’s point of view, Meyers (also screenwriter) shifts the POV to Dahmer himself, using further research into his childhood to paint a portrait of a young troubled mind in the process of collapse, his relationship with his warring parents Joyce (Anne Heche) and Lionel (Dallas Roberts), his fascination with life and death, and his emerging homosexuality. The film is adapted from the graphic novel memoir by Derf Backderf, recounting his experiences in the late 70s as a teenager (Alex Wolff, ‘Patriots Day’, ‘Jumanji: Welcome to the Jungle’), and his friendship with young Jeff Dahmer (Ross Lynch).
All these questions hang in the air around Marc Meyers’ film ‘My Friend Dahmer’, a portrait of serial killer Jeffrey Dahmer as a teenager that refuses to peddle in morbidity and delves into the confused shadows of his past. But should we be exploiting the actual deaths of innocent people for our entertainment? Should we be mythologising these figures of intense violence, sometimes even sympathising with them? To make them the heroes of their stories feels uncomfortable, but to make them monsters removes them of their humanity, which is often what is most frightening about them. How do we deal with the stories of those who do terrible, terrible things? As a culture, we’re fascinated by mass murderers and serial killers - to the point of morbid obsession - and the inherent theatricality of these figures makes them obvious for dramatisation.
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