Poor Things
Dustin Chase
One of the most audacious films of the year might also be one of the most nominated this season. Director today, auteur tomorrow, Yorgos Lanthimos, has a reputation for pushing the envelope in his cinematic choices with what the audience can and will accept. “The Killing of a Sacred Deer,” “The Lobster,” and “The Favourite” were all divisive and lacked mainstream appeal. While “Poor Things” is ironically his most ambitious film, it’s arguably also his most accessible. It’s wickedly funny, shocking at times, even grotesque, as it blurs the lines between science fiction (think “Frankenstein”) and a Wes Anderson film (an insane attention to detail and nuance). Yet Oscar-winning actress Emma Stone’s performance nearly overshadows everything else.
His methods are unorthodox, and his genius is undeniable; Dr. Godwin Baxter (Willem Dafoe) has created many an odd thing: a dog that’s half duck, a duck that’s half goat. His most recent success was bringing a woman he calls Bella Baxter (Stone) back to life. “Her mental age and body are not quite synchronized,” he explains to medical protégé Max McCandles (Ramy Youssef). “She is an experiment, and I must control the conditions, or the results will not be pure,” his reasonings for keeping her confined. However, the time arrives when Bella can not contain her urge to explore adulthood and the outside world. She runs away with Duncan Wedderburn (Mark Ruffalo) to experience life’s pleasures.
“Poor Things” and “Barbie” are not significantly different when looking at the big picture. When you think Greta Gerwig’s creative box-office smash couldn’t be beat in production design and costumes, “Poor Things” will be a challenge. Holly Waddington’s costume creations are out-of-this-world spectacular. Every frame of the film mirrors a twisted fairytale brought to life. The script, adapted from Alasdair Gray’s novel, has so many creative phrases: “genital pieces,” “the tongue play,” and “furious jumping,” which out of context don’t mean much, but within the film are hilarious and ingenious. The artistry, nudity, and outlandish dialogue create a fascinating fable-like examination of gender and sexual norms.
Emma Stone’s performance as Bella goes beyond transformative. It’s an unhinged delivery with a meticulous, evolutionary arc as her character grows mentally from her experiences during the film. Stone’s uninhibited achievement is one for the ages; it’s the exact opposite of what she accomplished in “La La Land.” Stone’s work with Lanthimos on “The Favourite” is a primer to what they craft together here. Even though it’s the most outrageous moments, and there are too many to count, Lanthimos’ direction is cultivated and resolute. While “Poor Things” will likely be many different things to varying audiences depending on their taste, patience, and curiosity, it’s far and away the most innovative and imaginative film of the year.
Final Thought
Filmmaker Yorgos Lanthimos takes all the insanity and creativity from his previous films and applies them to his most ambitious and innovative work. Emma Stone delivers a performance for the ages.