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Poor Things (film) - Wikipedia

Poor Things (film) - Wikipedia


Poor Things (film)

From Wikipedia, the free encyclopedia
Poor Things
Theatrical release poster
Directed byYorgos Lanthimos
Screenplay byTony McNamara
Based onPoor Things
by Alasdair Gray
Produced by
Starring
CinematographyRobbie Ryan
Edited byYorgos Mavropsaridis
Music byJerskin Fendrix
Production
companies
Distributed bySearchlight Pictures
Release dates
  • September 1, 2023 (Venice)
  • December 8, 2023 (United States)
  • January 12, 2024 (Ireland and United Kingdom)
Running time
142 minutes[1]
Countries
  • Ireland
  • United Kingdom
  • United States
LanguageEnglish
Budget$35 million[2]
Box office$112.5 million[3][4]

Poor Things is a 2023 film directed by Yorgos Lanthimos and written by Tony McNamara, based on the 1992 novel by Alasdair Gray. A co-production between Ireland, the United Kingdom, and the United States, the film stars Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, and Jerrod Carmichael.[5] It focuses on Bella Baxter, a woman in Victorian London who is brought back to life via brain transplant and embarks on an odyssey of self-discovery.

Principal photography took place in Hungary from August to December 2021. Poor Things premiered at the 80th Venice International Film Festival on September 1, 2023, and won the Golden Lion there. The film was released theatrically in the United States on December 8, 2023, and in the United Kingdom and Ireland on January 12, 2024, by Searchlight Pictures. It has grossed over $108 million worldwide on a budget of $35 million.

Poor Things was named one of the top ten films of 2023 by the National Board of Review and the American Film Institute, and received various accolades, including four wins at the 96th Academy Awards, two wins at the 81st Golden Globe Awards, and five wins at the 77th British Academy Film Awards. Stone's performance garnered widespread acclaim, and received numerous accolades including the Academy Award for Best Actress.

Plot[edit]

In Victorian London,[n 1] the medical student Max McCandles becomes an assistant to the eccentric surgeon Godwin Baxter. Max falls in love with Godwin's ward, Bella, a childlike young woman. Godwin reveals that the woman, who was pregnant, killed herself by leaping off a bridge. Godwin replaced the woman's brain with that of her unborn baby, resulting in her having an infant's mind, and named her Bella Baxter.

With Godwin's encouragement, Max asks for Bella's hand in marriage. Bella accepts, but as her intelligence rapidly develops, she becomes curious about the outside world and herself. While exploring her own body, she discovers masturbation and sexual pleasure. She runs off with Duncan Wedderburn, a debauched lawyer whom Godwin hired to overhaul the nuptial contract. Deciding to let her go, Godwin begins a new experiment with a young woman, Felicity, who matures much more slowly than Bella.

Bella and Duncan embark on a grand journey, beginning in Lisbon, where they have frequent sex. When Bella becomes difficult for him to control, Duncan smuggles her onto a cruise ship. Bella befriends two passengers, who open her mind to philosophy. Duncan attempts to stunt her growth to no avail. He becomes exasperated and indulges in drinking and gambling. During a stop at Alexandria, Bella witnesses the suffering of the poor and becomes distraught. She entrusts Duncan's winnings to unscrupulous members of the crew, who falsely promise to give it to the needy. Unable to afford the rest of the trip, Bella and Duncan are dropped off at Marseille and make their way to Paris. Seeking money and accommodation, Bella begins working at a brothel. Duncan, enraged, has a breakdown and Bella abandons him. At the brothel, she comes under the tutelage of Madame Swiney and begins a relationship with another prostitute, Toinette, who introduces her to socialism.

Godwin, now terminally ill, asks Max to bring Bella to him. Max locates her after tracking down Duncan, who has been institutionalized. Back in London, Bella reconciles with Godwin and renews her plans to marry Max. The wedding is interrupted by Duncan and General Alfie Blessington. The latter, addressing Bella as Victoria, declares that they were married before her disappearance and that he has come to reclaim her. She abandons Max to learn of her past life, but discovers Alfie's violent and sadistic nature and realizes Victoria committed suicide to escape him.

Alfie confines Bella to his mansion. He unsuccessfully threatens her at gunpoint to submit to genital mutilation, demanding she drink a sedative. She tosses the sedative in his face, and after a struggle, Alfie accidentally shoots himself in the foot before passing out. Godwin dies peacefully with Bella and Max at his side. Bella decides to follow Godwin's footsteps by becoming a surgeon with the help of Max and Toinette, and transplants a goat's brain into Alfie's head.

Cast[edit]

The film stars Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott and Jerrod Carmichael.

Production[edit]

Development[edit]

Director and co-producer Yorgos Lanthimos

Produced by Film4 Productions, Element Pictures, TSG Entertainment, and Searchlight Pictures, development on the film began as early as 2009, when Lanthimos went to Scotland to discuss with the author of Poor Things, Alasdair Gray, the acquisition of the rights to his novel. "He was a very lovely man", Lanthimos said, "Unfortunately, he died just a couple of years before we actually made the film, but he was very special and energetic; he was 80-something [when we met], and as soon as I got there, he had seen Dogtooth and said, 'I had my friend put on the DVD, because I don't know how to operate these things, but I think you're very talented, young man.'" Lanthimos said Gray took him on a personal tour of Glasgow, where Gray showed Lanthimos several places that he had incorporated into the story.[7]

While filming The Favourite (2018), Lanthimos revisited the project, which he discussed with Emma Stone, who had starred in that film. Lanthimos began developing Poor Things more actively following the success of The Favourite: "After the relative success of The Favourite, where I actually made a slightly more expensive film that was successful, people were more inclined to allow me to do whatever it is that I wanted, so I just went back to Gray's book and said, 'This is what I want to do.' It was a long process, but the book was always on my mind". While developing the film, Lanthimos and Stone collaborated on the short film Bleat (2022).[8]

Pre-production[edit]

Poor Things was announced in February 2021.[9] Lanthimos felt that working with Stone again gave him an advantage to the production, as they had developed a mutual trust. Stone also discussed how the process of making Poor Things was different in comparison to The Favourite because she also acted as a producer: "It was so interesting to be involved in how the film was being pieced together, from cast to department heads to what have you. Ultimately, Yorgos was the one making those decisions, but I was very involved in the process, which started during the pandemic; we were reaching out to people and casting and everything during that time, because we couldn't go anywhere."[8]

Casting[edit]

Willem Dafoe entered negotiations to join the cast in March 2021.[10] By April, Ramy Youssef was in talks to join.[11] Dafoe and Youssef were confirmed to join in May, with Mark Ruffalo and Jerrod Carmichael also added to the cast in May.[12][13] In September, Christopher Abbott was cast.[14] In November, Margaret Qualley and Suzy Bemba were cast,[15] with Kathryn Hunter revealing she had a role in the film as well.[16]

In preparation for her role, Stone took dance lessons and dyed her hair black, which she admitted was accidental. Lanthimos reflected that the dark hair contrasted with Stone's fair complexion so much that they agreed to go forward with the look.[17][18] Describing her characterization of Bella, Stone was attracted to the idea of portraying a woman reborn with a liberated mindset free from societal pressures:

"It's such a fairy tale, and a metaphor—clearly, this can't actually happen—but the idea that you could start anew as a woman, as this body that's already formed, and see everything for the first time and try to understand the nature of sexuality, or power, or money or choice, the ability to make choices and live by your own rules and not society's—I thought that was a really fascinating world to go into."

Stone especially appreciated Bella's lack of shame in regards to her experiences:

Even though Bella has obviously been through trauma in her life, it just isn't there for her now. She was the most joyous character in the world to play, because she has no shame about anything. She's new, you know? I've never had to build a character before that didn't have things that had happened to them or had been put on them by society throughout their lives. It was an extremely freeing experience to be her.[8]

Youssef revealed that in preparation for their roles, he and Dafoe attended mortician school. Reflecting on the "experimental theater games" Lanthimos assigned the cast prior filming, Dafoe shared, "You're very patient with everyone, and everyone's patient with you. They need to be confident in what they're doing, because what we're doing is quite risky. It's not a normal film."[17] Additionally, Dafoe spent six hours each day in the hair and makeup department – four hours getting extensive prosthetics applied to his face at the start of the day and two hours to get it all taken off at the end of the day.[19]

Discussing the male characterizations, Lanthimos acknowledged that while each male character was different and had his own individual motivation, they each represented male attitudes typical of the story's Victorian setting. Lanthimos stated:

"There are variations, I guess, but in this film, there's a general tendency to try to control [Bella]—even if it's done in a caring or subtle way, in the way that a parent might or that [Dafoe's character] Baxter does, or just being infatuated in the way that Ramy is. You know, being a nice man deep down, but still having the characteristics of a man of that era."

Stone also asserted that "the more agency Bella gets, the more she learns and grows, the more it drives these men insane. The more she has an opinion and her own wants and needs and all of that, it makes them crazy; they want her to stay this sort of pure thing."[8]

Filming[edit]

Principal photography took place in Hungary, beginning in August 2021 at Origo Studios in Budapest[20] and wrapping that December.[21] It is the first feature-film to be partially shot on Kodak's 35mm Ektachrome colour reversal motion picture film stock since its revival in 2018.[22]

Influences[edit]

According to cinematographer Robbie Ryan, Francis Ford Coppola's Bram Stoker's Dracula served as the main source of inspiration to everyone making the picture and the movie that was referred to more than most.[23] Other films that served as general influences were Michael Powell and Emeric Pressburger's Black Narcissus, Federico Fellini's And The Ship Sails On and several films by Roy Andersson.[24]

Costumes[edit]

Lanthimos worked closely with costume designer Holly Waddington to reflect Bella's growth and development through her wardrobe, from the more puffy silhouettes of her childlike era to the nearly corseted gown she wears at the film's climax.[25][26][27]

Stone further elaborated on Bella's growth reflected through her costumes, detailing how in the beginning of the story she dresses in more traditional clothing of the era, and, following her transformation, begins to dress herself in more bizarre clothes. Stone said:

"I loved that element of, how would Bella put clothing together with the way her mind works at this point? At the end, there are these very military-looking dresses that look like nothing you've seen Bella wear; things are much more form-fitting and constrained, but that's because she's come to a place where she's grown and decided who she is and what she's going to do. She's not assimilating, necessarily, but there's just more structure there."[8]

Music[edit]

Main article: Poor Things (soundtrack)

The film was scored by pop musician Jerskin Fendrix in his feature debut. The soundtrack album was released by Milan Records in conjunction with the film's release date, December 8, 2023. Two singles, "Bella" and "Lisbon", were released on November 14.[28]

Genre[edit]

David Rooney of The Hollywood Reporter described Poor Things as "genre-defying".[29] Critics have described its genre as a sex comedy, gothic comedy, black comedy and an absurdist comedy.[30][31][29] Some noted steampunk elements in the visual design.[32][6][33][34]

Release[edit]

Poor Things had its world premiere at the 80th Venice International Film Festival on September 1, 2023,[35] and was also screened at the Telluride Film Festival, the New York Film Festival, the BFI London Film Festival, the Busan International Film Festival, and the Sitges Film Festival.[36][37][38][39][40] The film had a limited theatrical release by Searchlight Pictures in the United States on December 8, 2023, and began a wide release on January 19, 2024.[41][42] It was released in the United Kingdom and Ireland on January 12, 2024.[43] It was previously scheduled to be released on September 8, 2023,[44][45] but was delayed to its December date due to the 2023 SAG-AFTRA strike.[41]

Home media[edit]

Poor Things was released on digital platforms on February 27, 2024,[46] and became available for streaming on Hulu in the United States on March 7, 2024[47] and on Disney+ in Canada the same day.[48] The film was released on DVD and Blu-ray on March 12, 2024.[46]

Reception[edit]

Box office[edit]

As of March 15, 2024, Poor Things has grossed $34.2 million in the United States and Canada, and $74.6 million in other territories, for a worldwide total of $108.9 million.[3][4]

In its limited opening weekend, it made $644,000 from nine theaters, a per-venue average of $71,556 (the third-best of 2023).[49] Expanding to 82 theaters the following weekend, it made $2.2 million, finishing in 10th.[50] In its third weekend it made $2.4 million from 800 theaters, and a total of $3.4 million over the four-day Christmas frame.[51] Following its 11 Oscar nominations, it expanded from 900 theaters to 2,300 in its eighth week of release and made $3.08 million, an increase of 43% from the previous weekend.[52] The following weekend it made $2.2 million.[53]

Critical response[edit]

On the review aggregator website Rotten Tomatoes, 92% of 359 critics' reviews are positive, with an average rating of 8.5/10. The website's consensus reads: "Wildly imaginative and exhilaratingly over the top, Poor Things is a bizarre, brilliant tour de force for director Yorgos Lanthimos and star Emma Stone."[54] Metacritic, which uses a weighted average, assigned the film a score of 88 out of 100, based on 62 critics, indicating "universal acclaim".[55] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, while 68% of those polled by PostTrak called the film "excellent", with 75% saying they would definitely recommend it.[49] Glamour wrote that the film "received widespread critical acclaim following its world premiere" and that Stone was "praised for her hilariously bold and fearless sex scenes" in it.[56]

Stephanie Zacharek of Time wrote that Poor Things is "Lanthimos' finest film so far, a strange, gorgeous-looking picture that extends generosity both to its characters and the audience". She found Stone's performance "wonderful—vital, exploratory, almost lunar in its perfect oddness".[57] Peter Bradshaw of The Guardian called it a "virtuoso comic epic" and added that Stone had given a "hilarious, beyond-next-level performance".[58] David Rooney of The Hollywood Reporter termed it "an insanely enjoyable fairy tale", adding that Stone "gorges on it in a fearless performance that traces an expansive arc most actors could only dream about".[29] Variety's Guy Lodge also believed that the film "rests on a single astonishing performance by Stone".[59]

BBC Culture's Nicholas Barber found the film "outrageous and hilarious", comparing it to the work of Wes Anderson and Terry Gilliam. The review also noted that the novel's realistic nineteenth-century setting had been changed to a fantastical "steam-punk wonderland", and that some of its satirical humor and most of its socialist and feminist themes had been toned down.[60] Reviews by The Guardian,[58] Variety[59] and Entertainment Weekly[61] also underline the steampunk elements of the setting. Conversely, Manohla Dargis, chief critic of The New York Times, was not as impressed. She felt the story became more "monotonal, flat and dull" over time, writing that the movie's "design is rich, its ideas thin. ... It isn't long into Poor Things that you start to feel as if you were being bullied into admiring a film that's so deeply self-satisfied there really isn't room for the two of you". Nevertheless, she too lauded Stone's acting.[62]

Ramin Setoodeh and Zack Sharf in Variety commented, "But not everyone loved Poor Things. A stream of [Venice] theatergoers bolted for the exit during some of the racier scenes."[63] Mick LaSalle at the San Francisco Chronicle called the film "a 141-minute mistake" and asserted, "Worst of all, it's dishonest. It purports to be a feminist document, but it defines a woman's autonomy as the ability to be exploited and not care. ... What version of feminism are these guys—Lanthimos and screenwriter Tony McNamara—trying to sell us here?"[64] Film critic Scott Mantz applauded LaSalle's post, finding the film "a seriously misguided take on female empowerment", though he praised the film's ambition and production values.[65]

Angelica Jade Bastién of Vulture warned readers, "This isn't a sincere treatise on female sexuality, it's a dark comedy for people who carry around an NPR tote bag", and criticized the film for failing to take a "sincere interest in the interior conflicts" of its female protagonist. Bastién identified the decision to make Bella Baxter mentally a child as the "primary failure of Poor Things' sex scenes", citing Bella's depiction as an example of the 'born sexy yesterday' trope. "In many ways", she commented, "the film demonstrates the limits of the modern cis-male auteur's vision for and about women—particularly their sexual selves." Praise was saved for Holly Waddington's costuming which Bastién declared "the greatest triumph of the film".[66]

The film has been subject to scrutiny in Gray's native Scotland due to its seeming disregard for the source material and its Scottish roots,[67] with online documentary channel Ossian presenting a portrayal of the true origins of Poor Things and its original Scottish setting.[68] Those closest to Gray have suggested that Lanthimos's interpretation of the source material was something Gray himself agreed to in the early 2010s, when contractual terms for a screenplay were drawn up.[69]

Accolades[edit]

Main article: List of accolades received by Poor Things (film)

Poor Things won the Golden Lion at the 80th Venice International Film Festival.[70] At the 81st Golden Globe Awards, it received seven nominations and won Best Motion Picture – Musical or Comedy and Best Actress – Motion Picture Musical or Comedy for Stone.[71][72] At the 29th Critics' Choice Awards, it received 13 nominations, winning for Best Actress.[73][74] It received 11 nominations at the 77th British Academy Film Awards and won 5 awards, including for Best Actress in a Leading Role.[75][76] The American Film Institute and the National Board of Review named Poor Things one of 10 best films of the year.[77][78] It was shortlisted in three categories for the 96th Academy Awards, and received 11 nominations, including Best Picture, winning Best Actress for Stone, Best Production Design, Best Makeup and Hairstyling and Best Costume Design.[79][80] The film also received the Georges Delerue Award for Best Soundtrack/Sound Design at Film Fest Gent in 2023.

Notes[edit]

  1. ^ The period of the film is "difficult to pin"[6] as various futuristic and fantasy elements are included in the cityscapes of Lisbon and Alexandria.

References[edit]

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