The Favourite - Intrigen und Irrsinn

The Favourite was not what I expected. This isn't classic Yorgos Lanthimos, this is a whole new, more whimsical Yorgos Lanthimos, approached parallel to his usual sinister, vexing, and twisted spirit. In full hindsight, this more comedic and less calamitous manner ended with me completely and whole-heartedly digging it. And when I say, The Favourite is more cheer and juvenile than his previous work, I'm not inferring that Lanthimos loses his infamous psychologically poignant gift in this, I'm just inferring that it's done in a much more subtle way, hidden by cynical buffoonery.

At the time being, I would claim that this isn't my favorite-sorry-favourite of Lanthimos's filmography-The Lobster and The Killing of a Sacred Deer still hold that spot dearly to my heart-but I would doubtlessly claim that The Favourite is by a long-shot, Lanthimos's most gratifying and crowd-pleasing film. I did not expect to had had such a blast with this movie. Not only is it funny as hell, but the comradery and rivalry between Emma Stone's character and Rachel Weisz's character-both who by the way, give the most dexterous performances of this entire year-was just too much fun to take in. And Olivia Colman's performance as the queen...comical perfection.

The atmospherical tone of this movie also is one of the many aspects that won me over. It reputed like an old-fashioned, 1-on-1, battle of the minds movie, just with touches of Lanthimos's typical synthetic stylizations. It's the cherry on the top of this shrewd satire.

The Favourite might not be as poetically relevant to today's society like The Lobster, or as tramuatizingly stirring like The Killing of a Sacred Deer, but it's a playful piece of mental spectacle that is oddly bone-crushing, yet, pleasing, all at once. Loved nearly every second of it. Bravo, once again Sir Lanthimos. (Verdict: A)

If The Favourite had music by Michael Nyman. I would had said that it was directed by Peter Greenaway. I do think Greenaway was a big influence with the style of the film, as well as the Oscar winning Tom Jones that lent it some naughtiness.

Director Yorgos Lanthimos adds a rich period setting and visual flourishes. He keeps his camera moving and has lot of fisheye views.

Underneath it all is a power play between three women in 18th Century England. Two of them vie to be Queen Anne's favourite even if this means massaging more than her legs.

Abigail (Emma Stone) has fallen on hard times. She arrives at Court hoping for employment from her cousin, Lady Sarah (Rachel Weisz.) She is the Queen's trusted adviser, lady in waiting, confidante and even lover.

Queen Anne (Olivia Colman) is ill. She has gout, she is mentally unstable. She lost 17 children and she has 17 rabbits that she plays with. Governing the country is something she finds difficult especially as Britain is at war with France.

Abigail wants to ingratiate herself with Queen Anne and climb the greasy pole to secure her position. Over time Abigail and Lady Sarah fight, dirtily to be the Queen's favourite.

The Favourite is a crude, grimy, seedy, bawdy drama in tone and language. Lanthimos is certainly not interested in showing a wholesome chocolate box portrait of 18th century life.

This is a sumptuous looking costume drama about fragile cruel people and egos. People who are desperate to get to the top and remain there.

The film unravels in the second half and gets bogged down. At the end Abigail may not be quiet in control as she thinks, I did think the ending was weak and disappointing.

English Queen Anne (Olivia Colman) is fighting a war in France. Lady Sarah (Rachel Weisz) is her favorite courtesan and is the power behind the throne. Her cousin Abigail (Emma Stone) arrives looking for a job after her family had fallen in status. Sarah looks down upon her and sends her to be a maid. She is being whipped when Sarah suddenly needs her to alleviates the Queen's gout pains. Leader of the opposition, Mr. Harley (Nicholas Hoult), is pushing for an immediate peace treaty while Sarah uses her power over the Queen to raise taxes to continue the war led by her husband at the front.

This is a wonderful competition of female relationships. It is deliciously passive-aggressive. All three performances are amazing. The visual style is impeccable. It is a movie of singular vision and great actors.

'The Favourite' from the day it came out quickly became one of my most anticipated films. Mainly for the critical acclaim, the vast awards attention and the talented cast (namely Olivia Colman, Emma Stone and Rachel Weisz). Anybody who has seen and liked Yorgos Lanthimos' previous films, including 'The Lobster', would also find another reason to be psyched about seeing it. Interesting furthermore for seeing a monarch and reign/era not explored an awful lot on film and actually even in general.

Seeing it finally last weekend with my sister, 'The Favourite' didn't disappoint me at all. Completely agree with the acclaim (and just to say there have been times where that has not always been the case) and the award nominations, with it receiving the most nominations of the year along with 'Roma' (another favourite of the year), and hopefully wins for at least a few of the categories are richly deserved. Just to say that my sister also loved it and she knew very little about its critical reception and accolades until when we were talking about the film afterwards, so this is not a case of being "followers" and this is a genuine review from somebody who actually did love it and has been known quite a number of times before for going against the grain when it comes to critical consensus. With that being said, can understand why 'The Favourite' won't click, and hasn't clicked, for some. But what some have deemed bizarre, cruel and pointless for me was one of the most entertaining, most visually striking, best acted and surprising films of the year.

Won't say that 'The Favourite' is exempt from criticism. Do have to agree with everybody who found the ending disappointing. Far too abrupt and it didn't make sense, leaving a very odd feeling and aftertaste.

However, the production values are exemplary. It is a beautifully shot and cleverly edited film, with a few effectively nightmarish moments that didn't distract at all (this is including at the end). All of this complements the evocative attention to period detail and the sumptuous locations interiors and exteriors. Especially good in this regard are the costumes, gorgeously designed and opulent and the muted colour pallette for some of them looks tasteful. Lanthimos keeps things going at a breezy pace while allowing it all to breathe, the surreal and strange elements that has not appealed to all in his previous films certainly present but more toned down here in comparison, which makes 'The Favourite' one of his more accessible films in my view.

Do not agree with those panning the soundtrack. Sure, the Ferrari and Messiaen weren't to my tastes and some of the placement is repetitive in places, but the pieces featured are great pieces on their own. The most authentic uses being Bach, Vivaldi and Purcell (including one of his most beautiful songs "Music for a while"), but most effective was the Schumann Piano Quintet (the opening chords and rhythms are truly haunting) and the poignantly sombre Schubert Piano Sonata, which happened to be one of his last works before his ultimely death. Apart from the repetition, the placement mostly didn't bother me with none of it really juxtaposing with the mood of the scenes (mixing a little camp and just as much seriousness) in question, there is a teasing and disorienting quality that is oddly captivating and clever.

One of 'The Favourite's' biggest triumphs is the script, one of the most entertaining and most beautifully balanced and structured of the year. Many parts are irreverently witty, boasting a number of laugh out loud moments throughout and showing a farce with teeth and bite without being over-the-top or tired. It is also quite darkly disarming and pulls no punches, showing that a period that seems so beautiful and glamorous is not as much as appeared underneath. There is shock value here but it didn't feel that gratuitous and was one of the reasons as to why 'The Favourite' stands out as more than one's "typical" idea of a period film. The political elements are sharp and insightful. And then there is a sensuality that both disturbs and charms, the chemistry between the three leads being witty, chilling and tense. On a story level, only the ending misfired for me, everything else is thoroughly absorbing and the different tones and shifts are balanced expertly with no real jarring, the twists in the story being manic without being too much that one can't take it seriously and the deceptions really digging deep.

A great job is done getting quality performances from the cast, all thoroughly committing to their roles and avoiding falling too much in overplayed caricature. Anne especially in her human fraility is given a good deal of depth that one does root for her, and the film did well providing some poignant emotion when needed without being overt amongst all the strangeness and irreverence. The supporting cast are on point, with Nicholas Hoult being particularly enjoyable in a very gleeful way. It's the three female leads that carry 'The Favourite' and all three give performances that are among the best of the year. Emma Stone is alluring and one roots for her at first, while making Abigail's shrewish character change unsettlingly believable. A perhaps never better Rachel Weisz brings caustic wit and authority to Sarah. Even better is Olivia Colman, a truly magnificent performance that gives the character many shades and vulnerability.

Summing up, a great film and one of my favourite films of the year. 9/10 Bethany Cox

In early 18th century, the friendship between Anne, first Queen of Great Britain and Lady Sarah Churchill, the wife of the Duke of Marlborough, was very close and then deteriorated because of their differing political views and the growing influence of another favorite, Abigail Masham. The film focuses on the rivalry between these 2 women, Abigail and Sarah: lousy tricks, alliances, treacheries, ground shiftings, sex, ... Everything is allowed to obtain the favors of the queen!

The actors, the photography, the costumes, the 18th century atmosphere despite voluntary anachronisms, the rhythm, the dialogues, the soundtrack, ... This is an excellent achievement. Smart, dark, irreverent, cruel and immoral.