Bella Baxter: My empathy is creeping towards what I would describe… a contemptuous rage.

Director: Yorgos Lanthimos

Screenplay by Tony McNamara Based on ‘Poor Things’ by Alasdair Gray

Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael

“Poor Things“, directed by the innovative Yorgos Lanthimos, serves as a daring adaptation of Alasdair Gray’s 1992 novel, a literary piece already rich with echoes of Mary Shelley’s “Frankenstein“. Lanthimos, along with screenwriter Tony McNamara, has crafted what is arguably the year’s most wickedly humorous film. It boasts remarkable production designs and a top-notch ensemble cast, offering much more than a mere retelling of the Frankenstein narrative.

Set in a whimsically anachronistic Georgian England, the film introduces us to Bella Baxter (brilliantly portrayed by Emma Stone), a resurrected adult with the mental and physical characteristics of a toddler. This peculiar reanimation, crafted by the kind yet intimidating scientist Godwin Baxter (a compelling Willem Dafoe), sets the stage for a narrative replete with bizarre scientific innovations and curious animal hybrids. The film boldly suggests that Godwin himself might be a creation akin to Frankenstein’s monster, adding layers to this quasi-sequel to Shelley’s iconic gothic tale.

The plot thickens as Bella, under the watchful eye of Godwin’s student Max McCandles (a nuanced Rami Yousef), begins to navigate and understand her world. This exploration triggers unsettling questions about autonomy and consent, especially as romantic entanglements arise with characters like the fervently jealous lawyer Duncan Wedderburn (a charismatic Mark Ruffalo). Lanthimos skillfully uses these dynamics not only to critique male desires but to delve into the power dynamics at play.

Emma Stone’s portrayal of Bella transitions remarkably from an innocent, childlike figure to a woman whose blunt, unfiltered demeanour challenges societal norms. Her journey through sexual awakening and philosophical maturation is depicted with boldness and empathy, echoing the emotional and intellectual turmoil of young adulthood.

The film’s rich visual and auditory elements enhance its narrative. Robbie Ryan’s cinematography, with its use of wide and sometimes distorted lenses, introduces a playful yet eerie quality to the scenes, perfectly complemented by Jerskin Fendrix’s quirky, unsettling score. The transition from black and white to vibrant colour as Bella discovers more of her world is particularly effective, magnifying the film’s thematic depth and visual grandeur.

“Poor Things” not only entertains but also provokes thought about societal constraints, personal freedom, and the human condition. It’s a film that, like many seen in the early days of arthouse cinemas along the streets of Melbourne, offers both a critique and a celebration of human impulses and desires. Viewing this film at Cinema Nova in Carlton brought a nostalgic reminder of the power of cinema to challenge and delight. For those intrigued by the blending of classic literary themes with bold, contemporary filmmaking, “Poor Things” is a must-watch. A delightful, if twisted, cinematic adventure.

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