Our review of Dahmer – Monster: The story of Jeffrey Dahmer, from September 21 on Netflix that renews the collaboration between Ryan Murphy and Evan Peters, bringing the author back to the glories of the past, almost as if we were in a new season of American Crime Story .
No more nurses. Enough stylists. It took a serial killer to bring Ryan Murphy back to the glories of a few years ago, in particular of American Horror Storyin which he seems to be enrolling his new miniseries for Netflix, Dahmer – Monster: The story of Jeffrey Dahmer, from 21 September on the platform on a day full of streaming arrivals. Here are the strengths of him in the Dahmer Review – Monster: The Story of Jeffrey Dhamer.
From the first moments of the first episode, you notice the care that Ryan Murphy and Ian Brennan, historical collaborators, wanted to put in this latest project for Netflix, choosing a protagonist that they gave birth in a certain sense and blossom with American Horror Story, Evan Peters, to then use it also in their other productions. The fetish actor, however, does not make the mistake of Sarah Paulson, now omnipresent in various projects to achieve the opposite effect – and in fact on these pages we were happy that Five days at the memorial became an Apple TV + series with Vera Farmiga. Peters literally transforms himself into Jeffrey Dahmer, from posture, to movements, to blond hair, without the use of excessive prosthetic make-up, but focusing everything on that gaze: disturbing, lost in the void, eager for love and at the same time in need of doing something. bad. Also known as Dahmer the Cannibal of Milwaukee (a 2022 film with this title was taken from his story with Jeremy Renner), he was responsible for as many as 17 murders committed between 1978 and 1991 which included sexual assault, necrophilia, cannibalism and quartered, only to be sentenced to life imprisonment in 1992 and died two years later, killed in prison by a schizophrenic inmate, Christopher Scarver.
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Perhaps I deserve to be almost actually a new season of American Crime Story (the last was Impeachment in 2021), Dahmer – Monster: The story of Jeffrey Dahmer rediscovers the attention for close-ups and the use of backstage shots, together with the dualism that characterized the ambivalent personality of one of the most famous serial killers in history. Initially the writing of Murphy and the direction of Carl Franklin seems almost not to show us, to increase the expectation on the person of him, on the details of the dated and shoddy clothes, on his body covered with him. Body that will become a trope full-fledged narrative. Not like Baz Luhrmann in Elvis who wanted to heighten the desire for his superhero, here is theorigin story of a villain at the center of the story to make us yearn for the restlessness in wanting to see him in the face. Evil incarnate, as he tried to tell us the saga of Halloween in these years. A little boy who wanted to have control over the world because everything seemed to crumble under his hands, starting with his parents’ divorce. Parents played beautifully by Richard Jenkins, unforgotten Nathaniel Fisher Sr. of Six Feet Underand Molly Ringwald, most recently seen on TV as a mom in Riverdale.
American Horror Boy
Dahmer – Monster: The story of Jeffrey Dahmer brings to light the themes dear to Murphy & associates: the brutality of white people and policemen towards black and Asian people and homosexuals, and the media circus that a story like that of the killer has inevitably created, both of which are incredibly topical. Between time leaps, childhood and adolescence, the story of how Jeffrey became the cannibal of Milwaukee, the investigative and trial part, the attention that the media have turned to this Monster calling it such, the miniseries tries to tell and investigate with the pen and the camera all the points of view of the story being told. Even that of the suspicious neighbor, played by Niecy Nash, who helps to give that comic vein and that grotesque tone to such a dramatic story, as well as the photography that plays a lot with dark tones, those of Evil, and some hints of red, the color some blood.
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Basically, Dahmer represents the morbid and not “educated” relationship with his own sexuality, combined with an innate passion for the human body, between guts, organs and vivisections of which the parents – especially the father, a male figure of reference in Jeffrey’s life – they did not understand the gravity and the danger. To counteract it is also the story of two people who do not know how to give their love to a child and a story of responsibility, of all the people involved, because no one, not even the neighbors who continued to smell a terrible stench coming from the worn-out apartment of Jeffrey, has never reported him but has remained within his own home so as not to intrude. The miniseries raises a question, inherent in horror and thrillers: Evil isn’t born, it ‘made? Or there is innate Evil, which has almost a supernatural rather than earthly meaning – like this series that fits perfectly into Netflix’s true crime line, one of the most resistant and successful on the platform – so much so that no one could have done anything to prevent those terrible events?
It looks like a new season of American Crime Story and this is its strength and value. We would like to say this at the end of our review of Dahmer – Monster: The story of Jeffrey Dahmer, who returns Ryan Murphy and associates to the glories of the past, showing media attention, issues dear to them such as racial discrimination and sexual, the origin story of a villain and a reflection on Evil all in the same show, with an Evan Peters in great shape.
Because we like it
- Evan Peters’ interpretation, never Manichaean or excessive, who works by subtraction.
- The writing of Murphy & associates and the direction, which accentuate the curiosity mixed with horror for the figure of one of the most famous serial killers in history.
- The issues addressed, typical of Murphyana production but linked to current events.
- Despite the formal care and writing, it could bore those who are not looking for yet another true crime story or a biopic.