'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
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