CINEMA REVIEW: POOR THINGS (2023)
Directed by Yorgos Lanthimos
Screenplay by Tony McNamara
Based on Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer by Alasdair Gray
Produced by Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone
Main cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Kathryn Hunter and Jerrod Carmichael.
Cinematography by Robbie Ryan
*** MAY CONTAIN SPOILERS ***
I have now seen all of Greek filmmaker Yorgos Lanthimos’ most recent directorial works, namely: Dogtooth (2009), Alps (2011), The Lobster (2015), The Killing of a Sacred Deer (2017), and The Favourite (2018). Collectively they defy conventional film styles and tropes to deliver absurd, surreal, funny, disturbing, thought-provoking, erotic and imaginative visions of human behaviour. Also, let’s not forget the writers too; so kudos to his writing partner Efthymis Filippou, and latterly Tony McNamara, who have combined with Lanthimos to create such memorable cinematic offerings.
The director’s early lower-budget dysfunctional comedy-dramas such as Dogtooth (2009), and Alps (2011) are unforgettably strange films to experience. They feature uncomfortable depictions of family, sex, death and relationships. While offbeat, you sense they are from the mind of a filmmaker seeking to provoke thought rather than exploit. While equally dark and strange The Lobster (2015) is clearly more comedic, even though it probes strange love, fascism and violence within romantic relationships. Further, in The Killing of a Sacred Deer (2017), Lanthimos and Filippou, in Godardian fashion, constantly called attention to cinema form; especially with a strangely effective form of anti-acting within the arguably more conventional revenge narrative. Whereas in The Favourite (2018), Lanthimos’ delivered a unique period satire, with the language and behaviour of the characters often crude and shocking. His visual choices are always fascinating, with his use of the fish-eye lens creating a distorted effect that made the characters seem trapped by their surroundings and circumstances.
With the success of The Favourite (2018), both critically and commercially, Lanthimos has of late been given an increased budget, reported as $35 million. His bold choice, along with screenwriter Tony McNamara is to adapt award-winning novel, Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer by Alasdair Gray has produced by far the most originally conceived and fantastic genre-bending comedy, drama, horror, rites of passage and salacious film of many a year. If there is a more bizarre, enthralling and enjoyable film of 2024, than Poor Things (2023) then this will be a most excellent year for cinema releases.
Set in Victorian London, we are introduced to the rather eccentric household of Dr Godwin “God” Baxter, an expert but secretive surgeon whose home hides bizarre animal experiments, and the beautiful but frankly odd human specimen, Bella Baxter (Emma Stone). Entering this weird abode of pig-hens and goose-dogs, comes innocent medical student, Max McCandless (Remy Youseef). “God” asks Max to assist with the childlike Bella’s development, charting her daily physical, speech and mental growth. Now, if you think the chimeric beast experiments are disturbing then brace yourself for the events of Bella’s ‘Frankensteinesque’ happenstance. I am not going to spoil it here, but it truly is a fantastic concept as invented by the author, Alasdair Gray, to contemplate. I was teetering on the fence with the film until this stunning reveal was given, but then I was committed to this medical oddity.
The first act finds Bella developing her speech, emotions and intelligence, as if a young child growing within this woman’s body. Bella also locates her libido and begins experimenting with her lust to great pleasure. Here Lanthimos continues exploring the themes of previous films with sex not only a natural expression of humans, but also an act used to control and drive people mad. Enter Mark Ruffalo’s caddish lawyer, Duncan Wedderburn who spirits a willing and rebellious Bella on a European trip. One where she truly discovers and satisfies her continual carnal desire or “furious jumping” as she hilariously calls it. Bella’s rites of passage, frankness and rapid growth threatens Duncan’s masculine insecurities and he finds it difficult to control her. Here the hilarious screenplay shows Bella and Duncan becoming more and more fraught until she craves further independence from his cloying envy. The central theme of Bella overcoming the chains of controlling masculinity dominates right up until the extremely dark final act.
While there is a lot of sex and nudity in this film, I felt that Lanthimos balances the exploitative nature of such material by contextualising it within Bella’s fascinating character arc. Emma Stone also provides a complex performance, funny and moving, as the woman-child discovering her mind, body, soul and the world. Ruffalo is particularly over-the-top as the sneaky but pathetic reprobate, Wedderburn. While Remy Youssef’s young medical student adds some compassionate balance within the ensemble, Willem Dafoe gives his customary brilliant turn as the tragic man of science. He himself had his childhood tainted by a father determined to use Godwin Baxter as a human guinea pig.
With a spectacular production design that employs a rich palette of colours, sets, lighting and immaculately furnished rooms, Lanthimos, stamps his authorial style along with genius cinematographer Robbie and his array of lens. Such creative choices evolve a spectacularly hyper-real vision of Victoriana. Indeed, the form and style coalesce with the content and themes in Poor Things (2023) to create what could already be the favourite film of my year. The screenplay dares to provoke the audience with gender political, sociological, historical and hysterical analysis as Yorgos Lanthimos again proves himself to be one of the most original filmmakers of his generation. Owing much to the imagination of Alasdair Gray’s source book, this is a shocking and explicit Frankenstein’s monster of a film. Lastly, it had me consistently thinking and laughing throughout, testifying to the power of family, however dysfunctional that Victorian household may be.
The Cinema Fix presents 