Yorgos Lanthimos’ comedy/fantasy film Poor Things shares whimsical cinematography, a unique premise and conjures dissonant feelings.
A pregnant woman attempts suicide. She is rescued (debatably?) by Dr Godwin Baxter, a Frankenstein-esque scientist and professor who is referred to as God (Willem Dafoe). The brain of the woman is dead, so he replaces her brain with the brain of her fetus. And so, Bella Baxter (Emma Stone) is born. When we are first introduced to her, she has the intellect of a young child but the body of a grown woman. She waddles like a toddler, finds glee in breaking dishes and is wildly curious.
Bella is trapped, both in her youthful mind but also physically, in the lavish London home of her creator. Dr. Godwin’s student, Max McCandles (a passive Ramy Youssef,) becomes Bella’s caretaker of sorts, collecting data on her progress. McCandles ultimately proposes to Bella, both at Dr. Godwin’s insistence and because of his true love for her. At this point, she still has the brain of a young child. Bella agrees to the marriage, but decides that before she settles down she must first experience life a bit first, and goes on a trip with womanizer Duncan Wedderburn (Mark Ruffalo).
There is a switch here in the film, from grayscale to technicolor, no doubt symbolizing Bella’s newfound exploration and freedom. The film is a visual feast, every inch of the screen demands attention. It is lavish in color, costuming and decor. A fish eye lens is used liberally, but it somehow works. The familiar cities of Lisbon, Alexandria and Paris are fantastically portrayed in Lanthimos’ view, simultaneously futuristic and of the past. On this trip Bella discovers sex, drinking, friendship, dancing, and the unbearable nature of dinner parties. She is sensorially enthralled with the experiences of the world. Throughout the excursion Bella matures exponentially, much to the dismay of Wedderburn, who clearly preferred a more malleable Bella (read: a more childlike Bella.) As she advances in intellect, he is repulsed, threatened and angry. Bella is unbothered, and is ravenous for more experience. She fights for her independence and is innately defiant. Their journey takes them to many cities, where Bella learns of both the wonder and horrors of the world. Bella witnesses slums in Egypt. She becomes a sex worker and student in France. She is totally unselfconscious, literal, a voracious reader. She challenges the status quo. She grows assured, and becomes an intelligent and worldly woman.
Bella returns to London once she learns that ‘God’ is dying. She learns the truth of her origin, refreshes her stale engagement to Max, and then is confronted with a manifestation of her past.
Poor Things brings to mind similar premises of previous films, a naive girlish demeanor portrayed in an adult woman’s body. A discovery of the world from the perspective of a woman who lacks full autonomy. Life Size with Tyra Banks for the children, Barbie for the masses, Poor Things for the intellectual and slightly perverted. Sex writer
writes a valid critique of the film: if Bella Baxter is a woman with the mind of a child, can she really consent to sex? Do aspects of this movie simply cater to the male fantasy of the “messy, feral” woman? It is easy to compartmentalize this criticism while taking in the movie, but upon deeper interrogation it is difficult to ignore the fetishization of Bella’s initial infantile nature.Bella ultimately gains true freedom and autonomy, and the audience is given an absurd and satisfying ending. Can two things be true at once? Can the audience be made uncomfortable, even disturbed by culture’s trite infatuation with the woman-child, and also feel that the character of Bella inspires self-exploration and discovery?
this convinced me I need to see it!!