Stepping into the cinema to watch Poor Things, directed by the visionary Yorgos Lanthimos, is less a movie outing and more of an immersive plunge into a world unbound by convention. Many reviews laud its visual splendor, but to truly experience it on the big screen is to be swept away by a tidal wave of unrestrained creativity in set design, cinematography, and costume artistry. Prepare to be visually intoxicated; every frame is laden with detail, demanding your gaze and sparking your imagination.
This cinematic marvel is born from Alasdair Gray’s novel, reimagining the Frankenstein mythos with a twist of dark humor and profound philosophical inquiry. At its heart is Bella Baxter, a woman brought back to life by the unorthodox scientist Dr. Godwin Baxter. Like Frankenstein’s creature, Bella is reborn, but with an infant’s mind in an adult body. This premise sets the stage for a compelling exploration of self-discovery as Bella learns about the world anew. Her journey, fueled by an insatiable thirst for knowledge and experience, propels the narrative forward, making Poor Things a captivating study of innocence and societal constructs.
One of the film’s most memorable moments is Bella’s exuberant encounter with music and dance. Her uninhibited response to rhythm and melody is pure, unadulterated joy. This scene, in particular, showcases the film’s brilliant choreography and the actors’ commitment to their roles, with Mark Ruffalo’s delightfully absurd dance moves being a standout.
Adding to the film’s unique charm are the surreal and meticulously crafted sets. Rejecting realism at every turn, the production design embraces maximalism, creating environments that are both fantastical and deeply symbolic. This stylistic commitment is absolute, enveloping the viewer in a world where the ordinary is banished. Lisbon, in its fantastical reimagining, and the opulent ship setting, stand out as particularly breathtaking locations, each contributing to the film’s dreamlike atmosphere.
Emma Stone‘s Golden Globe-winning portrayal of Bella Baxter is nothing short of transformative. Her performance captures Bella’s evolution with nuance and daring, making a strong case for further accolades, perhaps even an Oscar. However, the brilliance extends beyond Stone. Willem Dafoe delivers a masterfully restrained performance as Dr. Godwin Baxter, while Mark Ruffalo shines with an exaggerated, yet perfectly fitting, portrayal of Duncan Wedderburn. Initially, Ruffalo’s exaggerated English accent might raise eyebrows, but it quickly becomes an integral part of his character’s flamboyant and ultimately tragic persona.
However, Poor Things is not designed for the faint of heart. The film pulls no punches in depicting the surgical procedure that brings Bella to life, a scene that may unsettle viewers with a sensitive disposition. Furthermore, the film is sexually explicit. Very explicit. If scenes of a frank and frequent sexual nature are likely to offend, then perhaps consider this a cautionary note. To shy away from Poor Things due to these elements, however, would be to miss out on a truly exceptional and thought-provoking cinematic experience.
Ultimately, What Is Poor Things About? It is a film about the journey from innocence to experience, a study of human nature stripped bare of societal conditioning. It compels us to question our ingrained perspectives, the societal norms we often blindly accept, and the act of censorship, both internal and external. Witnessing the rejection of these norms within the film can be both unsettling and liberating, forcing a re-evaluation of our own boundaries and beliefs.
Beneath its layers of surrealism and philosophical depth, Poor Things is also undeniably a comedy. Its humor is often dark and unconventional, leading to moments of genuine laughter, even if, as was the reviewer’s experience, you find yourself laughing when others don’t. This unique comedic vein underscores the film’s exploration of the human condition, where comedy and pathos are intertwined, sometimes jarringly, sometimes harmoniously. The beauty of storytelling, as Poor Things so vividly demonstrates, lies in its subjective interpretation. Each viewer brings their own experiences and perspectives, shaping their unique understanding and emotional response to this extraordinary work of art.
