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environment. One could argue that perhaps he is the product of obsessive-compulsive personality
disorder (OCPD), rather than obsessive-compulsive disorder (OCD), for Udall seems to revel in
delight after engaging in his compulsive behaviors. This distinction is exemplified when he
acquires his usual (and presently occupied) table at the restaurant by making disparaging
comments to the Jewish couple through hostile intimidation to fulfil his needs: “How much more
you got to eat? Appetites aren’t as big as your noses, huh?” (13:00). While “obsessive-
compulsive disorder (OCD) is ego-dystonic, meaning that obsessions and compulsions are at
odds with the otherwise healthy desires of the ego and cause distress when carried out,
obsessive-compulsive personality disorder (OCPD) is an ego-syntonic disorder, where the
obsessions and compulsions are [in accordance] with the ego’s desires and cause a measure of
gratification when realized” (46).

         Perhaps Udall’s narcissistic behavior is a defense mechanism, created by the years of
society’s judgment and rejection, and acting in this manner is the only way he knows how to
meet his needs. Cefalu contends that obsessives may appear narcissistic to the outside world, but
it is more apt to describe this self-serving nature as a coping mechanism because these
individuals are completely immersed within their compulsive thoughts and are simply trying to
get through the moment or the day, and not because they are truly narcissistic (56). What is more
likely the purpose of this film is to use the projection of Udall’s character to exaggerate what is
socially perceived of someone with OCD and how that perception is in discordance with the
actual disorder. By emphasizing these points through humor, more awareness is brought to the
reality of this debilitating condition.

         The second half of the movie offers a turning point, a chance for Melvin Udall to redeem
himself, or rather, an opportunity for society to view him differently. In accordance with the

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