The Favourite is the latest project to come from Yorgos Lanthimos' brilliantly warped mind - and arguably his most accessible release to date. Having dealt in previous films with a spattering of twisted, dark ideas - including, but not limited to; dystopias where people are turned into an animal of their choosing if they do not mate within 45 days; a Greek parable in which a father must decide whether to kill his wife, son or daughter; and a patriarchal utopia where children are forced through embarrassment and endurances tests to reinforce a built deception - a film about British royalty may seem like restbite.
Yet, in this true-life (but no doubt heightened) tale of Queen Anne and the two women jostling for her affection, Lanthimos manages to infuse his quirky visual language into a more easily-digestible package, never losing his eccentric artistic sensibilities in a decidedly more crowd-pleasing effort. Manipulation, deceit and skullduggery are all afoot and Lanthimos ensures that we relish in the palpable drama. His meticulous direction, reminiscent of Paul Thomas Anderson's for Phanthom Thread, treats audiences to gorgeous wide shots that lust over every inch of the exquisite locations and set design, packed with such astonishing detail. The costumes are magnificent, the lighting (often only illuminated by candles) is naturally stunning and the cinematography is striking, edited to crisp perfection. Enhanced by an immaculate score from an array of classic and modern composers, it is a characterful piece with such tonal certainty and confidence.
It helps that the screenplay is so nimble-footed. Deborah Davis and Tony McNamara approach this period piece in such a fantastically unique way, with gorgeous dialogue as ingenious as it is sharp. Bound to follow in the footsteps of last year's Phantom Thread and earn itself an 'out of context' social media account dedicated solely to its caustic one-liners, Davis and McNamara have concocted a heady brew that audiences already allured by Lanthimos' distinctive voice will lap up. Despite its early 1700s setting, with themes of power, sex and feminity interlaced so ravishingly throughout this endlessly compelling, genuinely fascinating slice of seldom-explored history, it is deeply rooted in a modern subtext that makes it all the more relevant and appropriate today. It is a far more complicated and profound presentation of ferocious female desires and agency than imagined, one that still manages to unfold in a delectably entertaining fashion.
I can say almost completely without hesitation that The Favourite features the strongest ensemble of the year. Olivia Colman, Emma Stone and Rachel Weisz all turn in career-high performances as the trifecta of formidable women caught in a power play of epic, thrilling proportions; as capable in landing the dramatic punches as they are in delivering the side-splitting one-liners and cutting with their piercingly devilish stares, the trio are all truly extraordinary.
Colman's Queen Anne is so madly brilliant, mercurial and volcanic in this audacious creation oozing with sharp zingers and frequent hilarity, that maintains a dramatic heft that may catch you off-guard when you least expect it to. She can be vulnerable and her fragility gives way to the quieter, more ponderous elements of the film - but make no mistake that Colman can flip to deliver both sides of the coin as equally effectively, earning some of the biggest cackles throughout. Emma Stone dazzles as Abigail, the calculating cousin of Weisz's assuming Sarah, with the La La Land award-winner wickedly captivating, as fascinatingly complex and unpredictable in her quest to become the titular companion of the Queen. Stone's step into aristocratic Britain is so convincing and she delightfully sinks her teeth into the meaty role and character arc, resolute as she climbs the ranks to perch herself next to Anne. Weisz in on hand to throw some major side-eye and although perhaps a little more nuanced than her counterparts, renders a carefully-balanced turn that sizzles then stabs. As she begins to topple, Weisz's performance becomes more and more fraught in her desperation to continue her reign next to Anne as truer feelings begin to show.
However, even better than the performances individually are when they're sparring together - literally (there's one incredible moment where they literally attend a spa together and you could cut the atmosphere with a knife) and verbally. All three are utterly hypnotic, exploring the tantalising dynamic that is simply so entrancing to watch. Stone-Weisz dominate the first act, Colman-Weisz take the second while Stone-Colman covers the concluding act, with sparks flying in every single scene the trio share in their various combinations. Each performer is granted time to thrive but they are always generous when they fall back, magnifying the work of their co-stars so superbly. I cannot speak highly enough of this well-cast ensemble; the dynamic is electrifying and they add so much bite to the otherwise slower-burning, sometimes dense narrative.
With superlative work from each and every department, The Favourite is a marvellously, wildly enjoyable piece that fires from every cylinder with acerbic aplomb. It is a completely captivating, engrossing play from Lanthimos who, thankfully, never loses his signature off-beat brilliance in the drive to play it somewhat more mainstream, cooking up a period piece packed with personality and zest. Fortifying Lanthimos' beguiling absurdity, Colman, Stone and Weisz are all deserving of the highest plaudits for their work here, and long may they reign. It is a defining, crowning glory and I welcome the forthcoming award season coronations they should all be receiving for their wicked work here.
Summary: The Favourite is a wickedly delightful, purely delectable slice of royal farce that has Yorgos Lanthimos' directorial quirkiness and the trifecta of brilliant women - Olivia Colman, Emma Stone and Rachel Weisz - in front of the camera to thank for such an endlessly compelling, completely fascinating experience rather capture in words.
Yet, in this true-life (but no doubt heightened) tale of Queen Anne and the two women jostling for her affection, Lanthimos manages to infuse his quirky visual language into a more easily-digestible package, never losing his eccentric artistic sensibilities in a decidedly more crowd-pleasing effort. Manipulation, deceit and skullduggery are all afoot and Lanthimos ensures that we relish in the palpable drama. His meticulous direction, reminiscent of Paul Thomas Anderson's for Phanthom Thread, treats audiences to gorgeous wide shots that lust over every inch of the exquisite locations and set design, packed with such astonishing detail. The costumes are magnificent, the lighting (often only illuminated by candles) is naturally stunning and the cinematography is striking, edited to crisp perfection. Enhanced by an immaculate score from an array of classic and modern composers, it is a characterful piece with such tonal certainty and confidence.
It helps that the screenplay is so nimble-footed. Deborah Davis and Tony McNamara approach this period piece in such a fantastically unique way, with gorgeous dialogue as ingenious as it is sharp. Bound to follow in the footsteps of last year's Phantom Thread and earn itself an 'out of context' social media account dedicated solely to its caustic one-liners, Davis and McNamara have concocted a heady brew that audiences already allured by Lanthimos' distinctive voice will lap up. Despite its early 1700s setting, with themes of power, sex and feminity interlaced so ravishingly throughout this endlessly compelling, genuinely fascinating slice of seldom-explored history, it is deeply rooted in a modern subtext that makes it all the more relevant and appropriate today. It is a far more complicated and profound presentation of ferocious female desires and agency than imagined, one that still manages to unfold in a delectably entertaining fashion.
I can say almost completely without hesitation that The Favourite features the strongest ensemble of the year. Olivia Colman, Emma Stone and Rachel Weisz all turn in career-high performances as the trifecta of formidable women caught in a power play of epic, thrilling proportions; as capable in landing the dramatic punches as they are in delivering the side-splitting one-liners and cutting with their piercingly devilish stares, the trio are all truly extraordinary.
Colman's Queen Anne is so madly brilliant, mercurial and volcanic in this audacious creation oozing with sharp zingers and frequent hilarity, that maintains a dramatic heft that may catch you off-guard when you least expect it to. She can be vulnerable and her fragility gives way to the quieter, more ponderous elements of the film - but make no mistake that Colman can flip to deliver both sides of the coin as equally effectively, earning some of the biggest cackles throughout. Emma Stone dazzles as Abigail, the calculating cousin of Weisz's assuming Sarah, with the La La Land award-winner wickedly captivating, as fascinatingly complex and unpredictable in her quest to become the titular companion of the Queen. Stone's step into aristocratic Britain is so convincing and she delightfully sinks her teeth into the meaty role and character arc, resolute as she climbs the ranks to perch herself next to Anne. Weisz in on hand to throw some major side-eye and although perhaps a little more nuanced than her counterparts, renders a carefully-balanced turn that sizzles then stabs. As she begins to topple, Weisz's performance becomes more and more fraught in her desperation to continue her reign next to Anne as truer feelings begin to show.
However, even better than the performances individually are when they're sparring together - literally (there's one incredible moment where they literally attend a spa together and you could cut the atmosphere with a knife) and verbally. All three are utterly hypnotic, exploring the tantalising dynamic that is simply so entrancing to watch. Stone-Weisz dominate the first act, Colman-Weisz take the second while Stone-Colman covers the concluding act, with sparks flying in every single scene the trio share in their various combinations. Each performer is granted time to thrive but they are always generous when they fall back, magnifying the work of their co-stars so superbly. I cannot speak highly enough of this well-cast ensemble; the dynamic is electrifying and they add so much bite to the otherwise slower-burning, sometimes dense narrative.
With superlative work from each and every department, The Favourite is a marvellously, wildly enjoyable piece that fires from every cylinder with acerbic aplomb. It is a completely captivating, engrossing play from Lanthimos who, thankfully, never loses his signature off-beat brilliance in the drive to play it somewhat more mainstream, cooking up a period piece packed with personality and zest. Fortifying Lanthimos' beguiling absurdity, Colman, Stone and Weisz are all deserving of the highest plaudits for their work here, and long may they reign. It is a defining, crowning glory and I welcome the forthcoming award season coronations they should all be receiving for their wicked work here.
Summary: The Favourite is a wickedly delightful, purely delectable slice of royal farce that has Yorgos Lanthimos' directorial quirkiness and the trifecta of brilliant women - Olivia Colman, Emma Stone and Rachel Weisz - in front of the camera to thank for such an endlessly compelling, completely fascinating experience rather capture in words.