The Favourite (2018)

In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.

Jess’ Review

The Lobster (2015) is one of my favourite films, and following Sam and I’s recent viewing of The Killing of a Sacred Deer (2017), I had found director Yorgos Lanthimos firmly on my radar. (Much to Sam’s disappointment.) Fortunately, 2018’s Oscar-winning, The Favourite was just waiting to be watched.

The Favourite is a female-lead costume drama following three main players; Queen Anne (Olivia Colman), Lady Sarah Marlborough (Rachel Weisz) and Abigail (Emma Stone). Each of these performances is phenomenal, capturing the complexity of their characters with finesse. Colman’s unhinged Queen Anne is borderline pathetic, and yet undeniably sympathetic as we observe the damaging effects of manipulation, ill health and emotional hardship on her fragile psyche. Colman captures this vulnerability marvellously. Regrettably, I simply lack the word count to rave further about her acting skills.

Weisz and Stone are also mesmeric, but in a wholly different sense. From Lady Marlborough’s slow-permeating intimidation, ruthless and methodical, to Abigail’s transition from meek to outright vicious - it’s commendable and artfully done. It’s so refreshing to see a film committed to telling the story of three, powerful (though highly unlikeable!) women, without any gimmicky romances. The leading trio shine. And serve as the true strength of the film.

Lanthimos is an extremely stylistic director, employing recurring techniques to present artful films in an ocean of glitzy blockbusters. I respect him. And whilst some of the shots might err on the side of pretentious, I applaud his creativity. He has a distinctive style and I’m totally here for it. The shots are often wide, making the film’s players seem small within the expanse of their decadent world. He also uses a number of moving-shots which brings a certain level of audience involvement to the film. I feel like I’m there, observing these characters.

The use of sound is fantastically jarring. The Favourite is accented by a looming orchestral soundtrack that oft-times tiptoes into a more surreal realm. It’s powerful, and only adds to the intensity of the film’s cinematography.

The plot moves relatively slowly but is undulating and hard to predict. The Favourite, to me, feels like one big game of chess. Everyone has an agenda; everything is calculated and self-serving. And even though there is a welcome injection of dark comedy, the film is full of treacherous politics. It’s a fantastic, engaging watch. Though I admit, the ending initially left me frustrated. There’s layers to this film and I regret that I missed some of this - perhaps too overwhelmed by the incredible set and costume design on show. But I would wholeheartedly revisit The Favourite, for what I’d expect to be a more satisfying takeaway.

7.5/10

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Sam’s Review

Yorgos Lanthimos is clearly a brilliant director, sadly I cannot stand his style. Similar to the The Killing of a Sacred Deer, brash music was layered over scenes, attempting to put the audience on edge. It’s a clever technique, but I find it overbearing. And his sharp use of lighting is abrasive. He plays with light, letting it clash against the dark void. It makes for fascinating shots, and is used well at times to heighten tension, but on occasion I am forced to to strain to see faces or even watch silhouettes. Perhaps there is a symbolism to it that is beyond me, but it appears to be for vanity’s sake. Though, his use of seemingly natural light is brilliant. He uses the warmth to capture the reality of particular moments potently.

The cinematography, for the majority of it, is dauntingly brilliant. The shots are captivating in their grandeur. However, I dislike the use of the fisheye lens. It’s an ugly shot. As with the lighting, perhaps their is a greater meaning that I fail to grasp. Still, it’s an ugly shot.

While certain vulgar words are overused, the writing is sharp and witty. The bluntness to certain dialogue is endearing. The emotional parts are handled with care, while the political satire is scintillating. Yet there is not much in the way of story. There is one there, but it’s muted. It’s a drawn out affair that rightly focuses on the characters and their dynamics.

Above all else, the acting is to be commended. Olivia Colman’s sympathetic portrayal of a broken Queen is fantastic. It borders on pathetic, which is confusing for the power she holds, but it’s brilliant in its childlike innocence. There’s an authentic rawness which is enchanting.

Emma Stone’s fallen maid is a bizarre character. Her intentions are obvious, and I’m not sure if that’s a disappointment or not. I’d have liked more intrigue, but I wonder if the boldness was the point. Still, the character is played splendidly. As is Lady Sarah, played by Rachel Weisz, a cruel creature, manipulating her way to power. The entire cast is stellar. After the three leading ladies, Nicholas Hoult is the standout. His catty portrayal is humorous and captivating.

I find the direction fluctuating, at times abrasive, at times brilliant. But this is a well written dramedy, one that reminds me of a modern day Shakespeare play, that is is stolen by the delightful performances of the cast.

7.5/10