In the latest collaboration between director Yorgos Lanthimos and Australian screenwriter Tony McNamara, "Poor Things" takes on the challenge of adapting the 1992 novel by Scottish fabulist Alasdair Gray. The narrative serves as a mischievous deconstruction of 19th-century Gothic tropes, a theme that intrigued Lanthimos and McNamara, evident in their previous film, "The Favourite" (2018). While "Poor Things" expertly executes its vision, it lacks the satisfying cleverness that animated Gray’s novel or "The Favourite." Even in its most fantastical moments, "Poor Things" feels grounded.
The film reimagines the Frankenstein story with a female Monster, portrayed by Emma Stone as Bella Baxter. Created by eccentric surgeon Godwin Baxter (Willem Dafoe), Bella's transformation is closely observed by a young medical student, Max McCandles (Ramy Youssef). As her consciousness matures, a love story unfolds between Bella and Max. However, Bella, with a rebellious streak, eventually runs off to Lisbon with a decadent lawyer, Duncan Wedderburn (Mark Ruffalo), promising to return to Max.
The film's locations span from London to Lisbon, Alexandria to Paris, featuring fantastical and surreal elements that blur the line between reality and a bizarre Victorian reimagination. The art direction and costuming draw from steampunk graphic novels, and Robbie Ryan's cinematography is vivid and expressive. However, these visuals, while decorative, lack the integrative coherence seen in Lanthimos’s previous work.
McNamara’s script retains the lighthearted tone from Gray’s novel, showcasing Bella's rebellious agency. Yet, the decision to center the story on Bella has consequences for the film’s narrative development. As Bella becomes more righteous, the film loses some of its earlier interesting qualities.
Lanthimos’s surrealism, a key strength, is somewhat muted in "Poor Things." Known for his fearless and inventive surrealism, Lanthimos doesn't fully explore the dangerous undercurrents present in his previous work. The film leans more towards McNamara's vision, showing an English influence and a tendency to tame potentially dangerous material.
One weak sequence occurs when Bella is taken to Alexandria to witness human misery. The stylized images fail to evoke genuine emotions, and the idea that Bella needs such an experience to understand suffering feels forced and unconvincing.
However, standout performances from Emma Stone and Mark Ruffalo inject moments of genuine awe into the film. Stone's ability to convey Bella's evolving character, from infant-like movements to a ferocious adult, is remarkable. Ruffalo complements Stone, embodying a character unashamed of his desires. Their on-screen chemistry elevates the film, particularly when the characters of Bella and Wedderburn are lusting for each other.
While "Poor Things" has moments of brilliance, its overall impact falls short of the expectations set by Lanthimos’s earlier work. The film's attempt to reimagine Gray’s novel through an Anglocentric lens, influenced by Terry Gilliam's style, limits its potential for truly unnerving experiences. Despite its shortcomings, the performances of Stone and Ruffalo provide captivating moments, showcasing their prowess as actors.
In the end, "Poor Things" may not fully capture the unsettling and elating experiences characteristic of Lanthimos’s previous films, but it remains an intriguing exploration of a unique narrative inspired by Alasdair Gray’s imaginative world.
alex de minaur
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