The Favourite (A- or 3.5/4 stars)
Greek Director Yorgos Lanthimos' lush & darkly funny period piece, 'The Favourite', boasts 3 tour-de-force performances from the trifecta of Olivia Colman, Emma Stone & Rachel Weisz. Lanthimos' prior films, Dogtooth, The Lobster & The Killing of a Sacred Deer are odd ducks; meant for a particular type of quirky viewer. And while this loosely based on a true story/18th century British offering has its internal oddities {plus one of those abrupt "make of the ending what you will" last shots}, it's his most accessible film to date. Olivia Colman is brilliant as larger-than-life Queen Anne. Simply put, she is a wreck -- overweight, habitually ill with an array of maladies, stubborn, volcanic, but also woeful & emotionally-damaged.
Alas, poor Anne conceived 17(!) times, but none survived; leaving no heirs. As replacement, she keeps her "other" children - 17 rabbits - at her side in her budoir. Bizarre, yes -- but sad, too. Other bizarrities? Gorging on sweets, throwing up, eating more sweets, conducting duck & lobster races, & playing with said bunnies. The Queen's best friend, confidante & sometimes lover, Lady Sarah, the Duchess of Marlborough (Weisz), is always at her side, making decisions & virtually ruling for Anne whenever she, herself, is too ill, indisposed or confused about the state of British politics {war with France is raging} -- so Sarah is one powerful woman.
The arrival of Sarah's cherubic, penniless cousin, Abigail (Stone), who has lost her place in society, sets in motion changes that Sarah couldn't have seen coming. "Favour is a breeze that shifts direction all the time" warns duplicitous Robert Harley, Earl of Oxford (Nicholas Hoult). And so, playing complicated power-shift court games, ambitious Abigail ingratiates herself into Sarah's confidence, then, even more ably, works her way up from scullery maid right into Queen Anne's heart {and "vajuju"}. Plotting with utmost care, Abigail usurps Sarah as confidante {and lover} & soon becomes ... "the favourite". Realizing her position is threatened, Lady Sarah starts a war of wills, but a war that crafty Abigail is all-too prepared for. Or is she?
Now, this movie unambiguously makes these women lovers, though, their intense bond 300+ yrs. ago is subject to debate. One might call this film an example of historical fiction. That said, these royals DID exist, what happened happened, there was a war btwn. France & Britain, the Tories & the Whigs were at odds, and everyone felt threatened by Queen Anne & her bipolar whims. A lot can be inferred from the history, here.
Oh, what a wicked dose of cinematic delight director Lanthimos has given us. And yet, the final 15 minutes and, especially the final moments on screen are as bleak as anything else offered this year {for better or worse} -- more on that later. Nearly everything about this film is laudable: the gorgeous visuals, ferocious women at the center of the story, acerbic wit in the script, etc. You know, Lanthimos' films are known for showing us a more malicious view of the world. Most of the characters in his films are ne'er-do-wells, but in THIS film, their poor behavior can at least generate some laughs.
Rachel Weisz & Emma Stone are dynamic as the diabolic battlers. While Stone is cunning, perky & flirtatious, Weisz is icy cool, whip-smart & carnal ... and they clash beautifully. Because Stone has a face that the camera loves, her viperous 'wolf-in-sheep's-clothing' heart is well cloaked by her seeming vulnerability; and boy, does it work well in her favour ... for a while. Weisz exudes cool regality & imperiousness, but that also hides a lot of pain, too; still, she has a thick crust ... and she needs it in the end. Weisz' every line delivery is dripping with venom. And really, it's just so much fun watching these 2 villainesses social-climb at their own peril. Nicholas Hoult & Joe Alwyn are fun as the men who are taken advantage of by these women.
But best of all is Olivia Colman. Sure, her petulant queen is gluttonous, unwieldy & terrifying {always wanting her way, especially in the bedroom} ... but A LOT of crap has happened in her life and, that combined with her lack of awareness about how ruthlessly she's being manipulated by those who supposedly love her is what makes her such a tragic figure. Colman can appear fragile one moment, explode at someone the next, then level us in a moment of sadness where we see how her DEEPLY tragic back story confirms why she is how she is. Colman is an expressive actress, so her close-ups work to her advantage; the tiniest lip twitch or tear-filled eye can move mountains of emotions. And those emotions are never barer then in that potent final scene where she demonstrates through sunken, infinitesimal expressions the pathetic nature of her relationship with Abigail ... but also how she can STILL maintain control in this cruel world. That ending lingers.
Every component of 'The Favourite' impresses. I've already written of Lanthimos' directorial prowess. The screenwriting is full of decadent, destructive, backstabby goodness. And yet, for all the humor, while you watch, there's no doubt that this film is headed down a gloomy path. And to be honest, it's an odd ending that - in the moment - might disappoint, but upon reflection, can be enjoyed for all the subtext it entails. As for the editing, this film makes great use of fades, dissolves & overlapping dialogues from one scene to another. Robbie Ryan's wide-angle lens cinematography warps the way we look at a scene; creating an off-kilter quality which aids the nightmarish goings-on at the palace. I also loved his moody candlelit camerawork. The palace production design is lavish. Sandy Powell's costumes are intricately elegant. Even the hair & make-up has character; those wigs!
Though 'The Favourite' looks like your typical stately, period costume drama ... it is not for shrinking violets. Lesbian intimacy, the shooting of pigeons, liberal use of words like c*nt & f*ck, flinging oranges at a naked homosexual, & other oddities abound. One might also find that the political implications aren't explored as much as they could've been. There are scenes of it, but perhaps the film should've stuck exclusively to the sexual politics of our female leads, solely. In any case, I loved this film. It's not for everyone, but I was entertained by this naughty, nasty, nutty historical farce. I loved the acting, the visuals, laughed a lot ... and then felt mighty uncomfortable in the end. The best filmmakers can produce those reactions.
Alas, poor Anne conceived 17(!) times, but none survived; leaving no heirs. As replacement, she keeps her "other" children - 17 rabbits - at her side in her budoir. Bizarre, yes -- but sad, too. Other bizarrities? Gorging on sweets, throwing up, eating more sweets, conducting duck & lobster races, & playing with said bunnies. The Queen's best friend, confidante & sometimes lover, Lady Sarah, the Duchess of Marlborough (Weisz), is always at her side, making decisions & virtually ruling for Anne whenever she, herself, is too ill, indisposed or confused about the state of British politics {war with France is raging} -- so Sarah is one powerful woman.
The arrival of Sarah's cherubic, penniless cousin, Abigail (Stone), who has lost her place in society, sets in motion changes that Sarah couldn't have seen coming. "Favour is a breeze that shifts direction all the time" warns duplicitous Robert Harley, Earl of Oxford (Nicholas Hoult). And so, playing complicated power-shift court games, ambitious Abigail ingratiates herself into Sarah's confidence, then, even more ably, works her way up from scullery maid right into Queen Anne's heart {and "vajuju"}. Plotting with utmost care, Abigail usurps Sarah as confidante {and lover} & soon becomes ... "the favourite". Realizing her position is threatened, Lady Sarah starts a war of wills, but a war that crafty Abigail is all-too prepared for. Or is she?
Now, this movie unambiguously makes these women lovers, though, their intense bond 300+ yrs. ago is subject to debate. One might call this film an example of historical fiction. That said, these royals DID exist, what happened happened, there was a war btwn. France & Britain, the Tories & the Whigs were at odds, and everyone felt threatened by Queen Anne & her bipolar whims. A lot can be inferred from the history, here.
Oh, what a wicked dose of cinematic delight director Lanthimos has given us. And yet, the final 15 minutes and, especially the final moments on screen are as bleak as anything else offered this year {for better or worse} -- more on that later. Nearly everything about this film is laudable: the gorgeous visuals, ferocious women at the center of the story, acerbic wit in the script, etc. You know, Lanthimos' films are known for showing us a more malicious view of the world. Most of the characters in his films are ne'er-do-wells, but in THIS film, their poor behavior can at least generate some laughs.
Rachel Weisz & Emma Stone are dynamic as the diabolic battlers. While Stone is cunning, perky & flirtatious, Weisz is icy cool, whip-smart & carnal ... and they clash beautifully. Because Stone has a face that the camera loves, her viperous 'wolf-in-sheep's-clothing' heart is well cloaked by her seeming vulnerability; and boy, does it work well in her favour ... for a while. Weisz exudes cool regality & imperiousness, but that also hides a lot of pain, too; still, she has a thick crust ... and she needs it in the end. Weisz' every line delivery is dripping with venom. And really, it's just so much fun watching these 2 villainesses social-climb at their own peril. Nicholas Hoult & Joe Alwyn are fun as the men who are taken advantage of by these women.
But best of all is Olivia Colman. Sure, her petulant queen is gluttonous, unwieldy & terrifying {always wanting her way, especially in the bedroom} ... but A LOT of crap has happened in her life and, that combined with her lack of awareness about how ruthlessly she's being manipulated by those who supposedly love her is what makes her such a tragic figure. Colman can appear fragile one moment, explode at someone the next, then level us in a moment of sadness where we see how her DEEPLY tragic back story confirms why she is how she is. Colman is an expressive actress, so her close-ups work to her advantage; the tiniest lip twitch or tear-filled eye can move mountains of emotions. And those emotions are never barer then in that potent final scene where she demonstrates through sunken, infinitesimal expressions the pathetic nature of her relationship with Abigail ... but also how she can STILL maintain control in this cruel world. That ending lingers.
Every component of 'The Favourite' impresses. I've already written of Lanthimos' directorial prowess. The screenwriting is full of decadent, destructive, backstabby goodness. And yet, for all the humor, while you watch, there's no doubt that this film is headed down a gloomy path. And to be honest, it's an odd ending that - in the moment - might disappoint, but upon reflection, can be enjoyed for all the subtext it entails. As for the editing, this film makes great use of fades, dissolves & overlapping dialogues from one scene to another. Robbie Ryan's wide-angle lens cinematography warps the way we look at a scene; creating an off-kilter quality which aids the nightmarish goings-on at the palace. I also loved his moody candlelit camerawork. The palace production design is lavish. Sandy Powell's costumes are intricately elegant. Even the hair & make-up has character; those wigs!
Though 'The Favourite' looks like your typical stately, period costume drama ... it is not for shrinking violets. Lesbian intimacy, the shooting of pigeons, liberal use of words like c*nt & f*ck, flinging oranges at a naked homosexual, & other oddities abound. One might also find that the political implications aren't explored as much as they could've been. There are scenes of it, but perhaps the film should've stuck exclusively to the sexual politics of our female leads, solely. In any case, I loved this film. It's not for everyone, but I was entertained by this naughty, nasty, nutty historical farce. I loved the acting, the visuals, laughed a lot ... and then felt mighty uncomfortable in the end. The best filmmakers can produce those reactions.