*My Film Fest 919 review of The Favourite was originally published on Film Inquiry. Click here to read the original post and check out more great reviews from this awesome site!*
More than perhaps any other filmmaker working today, Yorgos Lanthimos has an incredibly specific style. He loves meticulous frames and sinister tones, punctuated by dry dialogue and a wicked sense of deadpan humor. He also has a very peculiar way of looking at human beings, an outlook that views people as robotic creatures who can be twisted and turned in a billion different directions to tragically funny ends. Love, family, work - these are all fertile battlegrounds for a Lanthimosian study of the (in)human psyche.
The Favourite, Lanthimos’ latest festival darling, is not quite that film. Yes, it does demonstrate his signature approach to visual composition, as it’s riddled with comically ridiculous fish eye lenses, gorgeous lighting, and utterly lavish period detail. But surprisingly, the director's latest feature maintains an empathetic treatment of its characters, understanding the complex, necessary motivations that lurk beneath the madness.
If you know anything about The Favourite, you’re likely just as surprised as I am. The film takes place in the English court of Queen Anne (Olivia Colman), whose unpredictability and discontentment know no bounds. Anne may be the technical ruler, but the political and military strategies are handled by Lady Sarah Marlborough (Rachel Weisz), her top deputy and part-time lover. England is currently waging a war against France, forcing Godolphin (James Smith) and opposition leader Harley (Nicholas Hoult) to compete for her attention.
But none of that matters. What really shakes up the court is the arrival of Abigail Hill (Emma Stone), a former member of the nobility and a cousin of Sarah. Abigail suffered the brunt of her family’s misfortune, but she’s sharp and cunning with a penchant for flattery. With impressive precision, Abigail climbs the ranks of power in the court, gaining the trust of Anne and the scorn of Lady Sarah. In this battle for favor, who will come out on top?
On the surface, this sounds like Lanthimos 101. His films have a predilection for manipulation, deception, cruelty, and the complexity of power dynamics; in short, heavy topics with a humorously strange touch. And if you have a taste for that material, The Favourite will provide no shortage of merciless verbal carnage and extraordinarily dark humor. Written by Deborah Davis and Tony McNamara, this film is riddled with memorable lines and gripping exchanges, ranging from caustic insults to raunchy innuendos (or much more obvious displays of sexuality).
Of course, it's hard to know where Davis and McNamara's script ends and Lanthimos' work begins. The filmmaker brings this nasty tug of war to life with his own exacting style, transporting his knack for awkward human interactions to the period drama.
At the same time, this does feel like something of a significant departure for the Greek auteur, which may be the direct or indirect result of his lack of involvement with the screenplay. Regardless, I must admit that I do have a slightly difficult time imagining a Lanthimos-penned script demonstrating such a deep understanding for these enigmatic characters. I expected the darkness and I expected the absurdity, but I had no idea how tragic and empathetic The Favourite would be.
This is as much a testament to the main trio of actors as it is to the production team. Olivia Colman may have won the Volpi Cup for Best Actress in Venice, yet it's impossible to imagine any of these performances without the others. Colman has the showiest role as a leader teetering on the edge of sanity (though she may be more in control than you'd think), balancing excessive acts of deranged glee with an understated current of pain that seems to go ignored by those competing for her affections. Unsurprisingly, Rachel Weisz is dynamite as no-nonsense Lady Marlborough, the straight-laced, deadpan foil to Colman's anguished ruler.
And then there's Emma Stone, who might just deliver the best performance of the bunch as a disruptive force of nature masquerading as a friendly face. Her comic timing has never been better than it is here, and she appears to be having a blast playing a character who flirts with being totally despicable. But even if Weisz and Stone are both delving into these borderline evil individuals, their motivations are never to be questioned. Sarah and Abigail have their goals and ambitions, and nobody can stand in the way. If it seems like a vile approach to royal favoritism, well, it is. The film's magic trick is the way it shifts sympathies to make the cruelty seem both absurd and rational.
The Favourite is also a technical marvel, the kind of film that's virtually a lock to snag a healthy serving of craft attention at the year's end. Robbie Ryan's cinematography is marvelous, an ingenious blend of naturalistic settings and eerie, candlelit images, made even stranger by Lanthimos' fly-on-the-wall approach to royal scheming. Plus, the costumes by Sandy Powell are dazzling, and the production design from Fiona Crombie is a sight to behold in and of itself.
Lanthimos does push things a little too far at times, which results in a slightly overlong final act. The fierce competition is amusing, but it isn't quite clear if the film is fully comfortable reaching a satisfying end. Minor quibbles aside, The Favourite succeeds in engulfing us in a world of pettiness and extravagance, where cake and power matter more than political strife or human cost. The real world exists outside the realm of the palace, and we wouldn't dare go searching for anything there. The meaningful drama happens within the confines of these walls, which we have the privilege of witnessing for just a few hours.
During one scene with Abigail, Lord Harley confidently says "I love gossip." Well, don't we all.
THE FINAL GRADE: A- (8.8/10)
Images courtesy of Film Fest 919/Fox Searchlight
More than perhaps any other filmmaker working today, Yorgos Lanthimos has an incredibly specific style. He loves meticulous frames and sinister tones, punctuated by dry dialogue and a wicked sense of deadpan humor. He also has a very peculiar way of looking at human beings, an outlook that views people as robotic creatures who can be twisted and turned in a billion different directions to tragically funny ends. Love, family, work - these are all fertile battlegrounds for a Lanthimosian study of the (in)human psyche.
The Favourite, Lanthimos’ latest festival darling, is not quite that film. Yes, it does demonstrate his signature approach to visual composition, as it’s riddled with comically ridiculous fish eye lenses, gorgeous lighting, and utterly lavish period detail. But surprisingly, the director's latest feature maintains an empathetic treatment of its characters, understanding the complex, necessary motivations that lurk beneath the madness.
If you know anything about The Favourite, you’re likely just as surprised as I am. The film takes place in the English court of Queen Anne (Olivia Colman), whose unpredictability and discontentment know no bounds. Anne may be the technical ruler, but the political and military strategies are handled by Lady Sarah Marlborough (Rachel Weisz), her top deputy and part-time lover. England is currently waging a war against France, forcing Godolphin (James Smith) and opposition leader Harley (Nicholas Hoult) to compete for her attention.
But none of that matters. What really shakes up the court is the arrival of Abigail Hill (Emma Stone), a former member of the nobility and a cousin of Sarah. Abigail suffered the brunt of her family’s misfortune, but she’s sharp and cunning with a penchant for flattery. With impressive precision, Abigail climbs the ranks of power in the court, gaining the trust of Anne and the scorn of Lady Sarah. In this battle for favor, who will come out on top?
On the surface, this sounds like Lanthimos 101. His films have a predilection for manipulation, deception, cruelty, and the complexity of power dynamics; in short, heavy topics with a humorously strange touch. And if you have a taste for that material, The Favourite will provide no shortage of merciless verbal carnage and extraordinarily dark humor. Written by Deborah Davis and Tony McNamara, this film is riddled with memorable lines and gripping exchanges, ranging from caustic insults to raunchy innuendos (or much more obvious displays of sexuality).
Of course, it's hard to know where Davis and McNamara's script ends and Lanthimos' work begins. The filmmaker brings this nasty tug of war to life with his own exacting style, transporting his knack for awkward human interactions to the period drama.
At the same time, this does feel like something of a significant departure for the Greek auteur, which may be the direct or indirect result of his lack of involvement with the screenplay. Regardless, I must admit that I do have a slightly difficult time imagining a Lanthimos-penned script demonstrating such a deep understanding for these enigmatic characters. I expected the darkness and I expected the absurdity, but I had no idea how tragic and empathetic The Favourite would be.
This is as much a testament to the main trio of actors as it is to the production team. Olivia Colman may have won the Volpi Cup for Best Actress in Venice, yet it's impossible to imagine any of these performances without the others. Colman has the showiest role as a leader teetering on the edge of sanity (though she may be more in control than you'd think), balancing excessive acts of deranged glee with an understated current of pain that seems to go ignored by those competing for her affections. Unsurprisingly, Rachel Weisz is dynamite as no-nonsense Lady Marlborough, the straight-laced, deadpan foil to Colman's anguished ruler.
And then there's Emma Stone, who might just deliver the best performance of the bunch as a disruptive force of nature masquerading as a friendly face. Her comic timing has never been better than it is here, and she appears to be having a blast playing a character who flirts with being totally despicable. But even if Weisz and Stone are both delving into these borderline evil individuals, their motivations are never to be questioned. Sarah and Abigail have their goals and ambitions, and nobody can stand in the way. If it seems like a vile approach to royal favoritism, well, it is. The film's magic trick is the way it shifts sympathies to make the cruelty seem both absurd and rational.
The Favourite is also a technical marvel, the kind of film that's virtually a lock to snag a healthy serving of craft attention at the year's end. Robbie Ryan's cinematography is marvelous, an ingenious blend of naturalistic settings and eerie, candlelit images, made even stranger by Lanthimos' fly-on-the-wall approach to royal scheming. Plus, the costumes by Sandy Powell are dazzling, and the production design from Fiona Crombie is a sight to behold in and of itself.
Lanthimos does push things a little too far at times, which results in a slightly overlong final act. The fierce competition is amusing, but it isn't quite clear if the film is fully comfortable reaching a satisfying end. Minor quibbles aside, The Favourite succeeds in engulfing us in a world of pettiness and extravagance, where cake and power matter more than political strife or human cost. The real world exists outside the realm of the palace, and we wouldn't dare go searching for anything there. The meaningful drama happens within the confines of these walls, which we have the privilege of witnessing for just a few hours.
During one scene with Abigail, Lord Harley confidently says "I love gossip." Well, don't we all.
THE FINAL GRADE: A- (8.8/10)
Images courtesy of Film Fest 919/Fox Searchlight
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