The Favourite

Let me preface my review with me saying that I have never had a film experience where I have been genuinely uncomfortable in. I have watched The Human Centipede Series, Saw, and plenty of other gory cinema that has hardly made me cringe. But for some odd reason, The Favourite made me cringe and feel sick half of the time.

Now STOP. Before you flag my review or declare me unhelpful. Let me say this: I think the film had a unique score, excellent acting all around, an intriguing story, and played off the tropes of stereotypical British historical dramas, but the film was not for me.

Because honestly, the absurdity of this film was way too much for me, and I hardly ever say that. I will acknowledge the film was great technically and narratively, but I couldn't stand it.

The Favourite is supposed to be a historical drama with tons of comedy and a light bit of thriller thrown into it, but when it came to the comedy, I couldn't get with it. While the Laemmle Playhouse audience laughed at every single line of dialogue that would come out of someone's mouth, I could not take it. I think throughout the whole film, I laughed maybe 15%, and about 80% of that laughter was cringe laughter. A lot of the film was pure bonkers, and I couldn't really get into it.

The concept of playing against the trope that British historical figures are normally conservative and well spoken, and having them instead be balls-to-the-wall mentally insane and outlandish in this film, is an interesting idea, but it did not work for me. There is literally a scene where a character gives a monologue to the camera about their evil plan, while stroking her newlywed's member. And I was thinking, what in the actual hell?? It was funny, but it was more weird than anything.

The film as a whole is just weird. I don't think it really cares as much about the narrative or the characters, but with how weird the setting can be. Whether it is really out of place dancing in the ball room (the only scene I burst out laughing at), the queen declaring how much they want to get oral pleasure, girls bathing in mud, really loud and obnoxious screaming, an annoying fish-eye lens, continuous rubbing of old women's feet, and even more screaming, I just couldn't find a point to any of it.

It is almost like the director is like "hey bro, look at how outlandish I made these uptight British royalty look. HAHA! Funny, funny!" I did not even really care.

I will give the film a rewatch when it comes out on digital, and have subtitles included, because sometimes that improves my film experience. But from what I can tell, The Favourite is definitely not really my cup of tea.

I will say this though: I will probably enjoy The Lobster and Dogtooth more than I will with this. Perhaps because they are not in a British royalty setting, which I have a hard time getting to in the first place.

Anyways, try not to hate me please. Remember, I acknowledge the achievements of the film, but it does not work for me. Think of that before you lynch me.

You're the puppet master of the Queen of England, it's taken time for you to conjure such a great hand, with your powers and persuasion, you're oratorical vibrations, you fan the flames enough, to fulfil what you've planned. Alas, poor judgement has increased your cousin's standing, now she's the one who's got the monarch writhing and panting, a lesson must be taught, she must be removed from this court, with authority restored and made longstanding.

Lots of scheming and devious deceitfulness at the court of Queen Anne as two competitive opportunists compete for the sovereign's ear (amongst other things). Great performances and brilliantly directed and presented.

'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

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.

The awards and critical reception for this film made it a rather mainstream success, despite it coming from the maker of such odd films as The Lobster. The period setting, the class of performers, and the awards though make it seem accessible and 'normal' only for it to quickly set out its stall as not being that. Essentially it is the fictional story of Queen Anne and her dear 'friend' Lady Sarah, between whom a new maid comes, setting off a frosty power struggle for the ear of the ailing Queen. On its face it seems like a straightforward period drama, but the delivery makes it more than this.

Much has been written by cleverer people on the selection of lens for shooting, the use of natural light, the fruity nature of the script for the period, all of it true and all of it making the film feel off-kilter from what would be expected. It does this in a way that feels odd but yet is still easy to go with and accessible - as opposed to being deliberately hard to penetrate. Certainly the look of the film keeps throwing me, and I wasn't a fan of the wide lens when it was used, but it did have the effect of making the scenes draw me in by virtue of how odd it was to find that look in a period film. In terms of narrative, it is lively with its fruity language and incident, as well as the twists and turns of the plot itself. This is all well delivered by the lead three actresses, who embrace the teeth of it as much as they do the absurdity of some of it.

All told it is a surprising film in the way that it feels odd and off-kilter in many ways, but yet produces a sharp drama with wit and teeth throughout.