“Poor Things” unfolds as a steampunk-styled odyssey in Victorian-era London, where the childlike Bella Baxter, portrayed by the brilliant Emma Stone, undergoes a resurrection by the eccentric surgeon Godwin Baxter (Willem Dafoe). Implanting her baby’s brain in her head, he brings her back to life, setting the stage for a peculiar narrative.
Bella, initially behaving like a toddler, evolves under the influences of the men around her, particularly the scarred but gentle Dr. Godwin. Their relationship takes on a unique dynamic, with Bella developing a daughter-father bond, affectionately calling him ‘God.’ Willem Dafoe’s portrayal adds depth to Bella’s unconventional upbringing, and as the narrative unfolds, she finds herself surrounded by various men, including the warm Max McCandles (Ramy Youssef), who falls in love with her.
As Bella transforms from a barely verbal blank slate into a woman with a furious appetite for life, the film promises to explore her evolution. The narrative aims to delve into her experiences, adventures, and exploration of freedom and sexuality in a patriarchal society.
Directed by Yorgos Lanthimos and adapted by Tony McNamara from Alasdair Gray’s novel, the film features a stellar cast, including Emma Stone, Willem Dafoe, Mark Ruffalo, Ramy Youssef, Christopher Abbott, and Jerrod Carmichael, setting the stage for a unique cinematic experience. The film’s wonderfully bizarre elements, from performances to production and costume design, revolve around the awkwardness of forging genuine human connections.
Emma Stone’s performance is outstanding, capturing Bella’s essence through her virtuoso use of body language. This is particularly evident in the physicality of Stone’s remarkable performance, triumphing not only in nudity and intimate scenes but also becoming a crucial element in experiencing Bella’s transformative journey.
Final Verdict: 8/10 – A Conflicted Odyssey:
Adapted by Tony McNamara, renowned for his creativity, “Poor Things” introduces an explosively inventive plot. Despite holding potential for discussions about feminism, patriarchy, and societal expectations, the screenplay falters in its narrative development.
The film, unfortunately, focuses too much on format over content, prioritising allegories and missing the mark in fully exploring its promising themes. However, its quirky humour, stellar cast brilliance, and captivating cinematography contribute to the film’s artistic and entertainment values.
In conclusion, “Poor Things” is a paradox – entertaining yet unfulfilling, visually stunning yet narratively lacking. It captures attention as a cinematic odyssey but falls short of leaving a lasting impact.
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