“Did you happen to notice me striving for HAPPINESS through self-improvement?”
“What about verbal teasing? Is that not taking place?”
“I have an obligation to physically strike that infant!”
Emma Stone’s portrayal of the numerous comedic lines in Yorgos Lanthimos’s exceptional and biting Poor Things is reason alone to award the best picture Oscar immediately.
However, there is also the delightfully controversial and avant-garde idea, the mesmerizing use of both color and black-and-white cinematography, the inventive set and costume designs, the suggestive musical score that mimics the main character’s initial innocent piano playing but later reflects her growing intelligence and sexual boldness. And let’s not forget the fast-paced story, reminiscent of a steampunk locomotive.
I desire to witness Ed Guiney, the producer, deliver the final speech when the best picture Oscar is announced, joined by fellow co-producers Daniel Battsek, Yorgos Lanthimos, and Emma Stone. This is due to numerous reasons and more.
“Poor Things” is an unusual drama about a woman named Victoria Blessington, played by Stone, who is part of high society in a fictional Victorian era. In a dreamlike sequence, she tries to commit suicide by jumping into the Thames. Lanthimos films this eerie scene from behind Victoria as she sinks into the water, keeping a crucial detail hidden from the audience. (On a side note, I still hope for a prequel to “Poor Things” starring Stone, revealing her story leading up to this moment.)
However, her nearly lifeless body is covertly retrieved and subjected to experiments by troubled anatomist Godwin Baxter. He is portrayed with unwavering conviction by Willem Dafoe, who revives her and regresses her to an infantile state using a disturbing technique, renaming her Bella Baxter. He then keeps her as his ward, pet, or daughter in his home. Bella’s charm and purity arouse the protective heroism of Baxter’s assistant, McCandles, portrayed superbly by Ramy Youssef, who falls in love with her. However, her defiant behavior disgusts Baxter’s housekeeper – a hilariously performed character by Vicki Pepperdine, who deserves more recognition. Just when it seems like their unusual domestic arrangement is becoming normalized, Bella elopes with a scoundrel named Duncan Wedderburn. Mark Ruffalo delivers a brilliantly sleazy performance in this role, marking the beginning of Bella’s journey through the looking glass and into her own unrestrained sexuality.
Tony McNamara’s adaptation of Alasdair Gray’s original novel is expertly crafted, including stunning work from Robbie Ryan as cinematographer, Shona Heath and James Price as production designers, Holly Waddington as costume designer, and Jerskin Fendrix who created the mesmerizing score. Emma Stone’s powerful and fearless performance carries the film effortlessly throughout its two-hour runtime, enhanced by her unique beauty and captivating eyes. For those following awards season, it may be recalled that during the 2015 Golden Globes, hosts Tina Fey and Amy Poehler playfully compared Emma Stone’s appearance to the iconic Margaret Keane paintings featured in Tim Burton’s film Big Eyes. Despite the teasing, Emma took it in good humor and director Yorgos Lanthimos has successfully used her ethereal beauty in this film.
Since the release of Poor Things, there has been a critical discussion questioning it as a male fantasy that is exploitative and potentially pedophilic.
My personal perspective is that this disapproval – like the term “fetch” in the movie “Mean Girls” – never became popular. The novel “Poor Things” can be seen as an example of how a true work of art rises above political trends and social media criticism. Its transgressive energy also comes from challenging strict societal norms and pushing past their boundaries. Furthermore, the film is directed by a European director who emerged outside of the constraints of Anglo-Hollywood studios and is based on a literary source from an author whose reputation was established before publishers became fearful of controversy. However, I must acknowledge that Viv Groskop made a compelling argument in this article by pointing out that despite the emphasis on body details and explicit sex, the men in charge failed to consider Bella’s menstrual cycle or the possibility of her becoming pregnant.
Together with production collaborator Shona Heath, costume designer Holly Waddington, and multi-talented producer and star Emma Stone, the powerful female perspectives are evident in their work.
Out of all the films nominated for Best Picture, Poor Things is the only one that stands on its own and truly takes daring risks. It is both stunning and entertaining, with Stone giving a remarkable performance.
Source: theguardian.com
