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Yorgos Lanthimos’ internationally acclaimed films, such as “Dogtooth,” “The Lobster,” and “The Killing of a Sacred Deer,” have all dealt with the looming domestic dynamics and battles that occur between couples, siblings, and families who live together in the same house or in different houses. This costume drama “The Favourite,” which is fiendishly eccentric and entertaining, places the Greek director’s household idiosyncrasies and preoccupations in the early 18th Century England of the time period. However, if this singular absurdist has not previously been your cup of tea, this deliciously “Dangerous Liaisons”-esque and thoroughly female-driven period film, written by Deborah Davis and Tony McNamara, may be the film that finally converts you.
The fact that Lanthimos does not share a screenplay credit with the duo is an anomaly and a welcome departure for the filmmaker, who usually co-writes with Efthymis Filippou with his trademark formality in his previous films. Nonetheless, this is a suitable, if not refreshingly looser canvas for his established sensibilities, which are then stretched over a tangled love and power triangle involving the British Royal family. For all of its grandeur, the Royal Palace in “The Favourite” is nothing more than an intimate setting for familial battles, with compartmentalized walls that serve as pillars of confinement to keep the characters contained. Overall, it’s the ideal “Lanthimosian” playground, complete with a variety of mischievous backstabbers, a tight corset and a dash of seductive eroticism.
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The Favourite Quiz
“The Favourite,” which is only loosely based on a true story and is laced with plenty of imaginative fabrications, follows Queen Anne (Olivia Colman, in an instantly iconic performance), one of England’s lesser-known monarchs who reigned in the early 1700s during the country’s war with France. Queen Anne is a distracted and often irritable royal figure who suffers from a mysterious skin condition, poor overall health, and a fondness for decadent desserts. She lives with her trusted friend and lover Lady Sarah Churchill (an authoritative and stiff-upper-lipped Rachel Weisz, terrific), and she cares for her 17 rabbits, which tragically fill an emotional void for each of her failed pregnancies. Even though their royal order is unbalanced, it is upended by the arrival of the calculating, mud-covered ex-aristocrat Abigail Masham (a menacing Emma Stone like you’ve never seen her before), who accepts a position as a servant while pursuing a personal agenda to return to her former glory days. Sarah initially believes she is lending Abigail a genuine helping hand, but she soon realizes that the double-player has treacherous intentions. After Abigail makes her way into the Queen’s chambers as her new personal handmaid, and eventually crawls into her bed as her lover, a number of complications escalate to an emergency state of emergency. A poisonously competitive streak develops among the trio in due course, and a number of male stakeholders (including actors such as Nicholas Hoult and Joe Alwyn) come and go throughout the course of the film.
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The film “The Favourite” could be considered a timely feminist film because of the way it deals with female power in a male-dominated world, but this would be an overstatement. The old-fashioned candor with which it depicts a woman’s struggle to get what she wants and demand the respect that she deserves, whether through brains, sexual appeal, or a combination of the two, has a timeless quality to it. “The Favourite,” which is frequently satirical, also grasps the complexity of circumstantial, patriarchy-defined enmity among females, obliquely recalling everything from “The Women” and “All About Eve” to “Mean Girls” and “The Handmaiden.” “The Favourite,” as amusing as it is to follow Abigail’s misadventures as she plots against her Queen and Lady Churchill, deserves praise for bringing the desperate humanity of its female characters to the surface, as they are challenged by their respective demons of social status, undignified competition, and physical attractiveness.
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In “The Favourite,” the flawless ensemble of actors and actresses is thankfully given the opportunity to deliver their lines with genuine vocal fluctuations. To put it another way, the usual woodenness of dialogue that has characterized many of Lanthimos’ previous films is only felt in moderation in this film. Despite this, the filmmaker can’t help but indulge in excess from time to time, particularly when he uses a fisheye lens to create a disorienting effect; the physical scale of the palace and its grounds is obvious enough without the addition of a fisheye lens. To the film’s credit, that forgivable overabundance does not detract from an otherwise excellent package, which is elevated by legendary costume designer Sandy Powell’s original, mostly black-and-white creations (using a monochrome palette must be one ingenious way to work around budgetary constraints) and Fiona Crombie’s enticing production design. “The Favourite,” director Yorgos Lanthimos’ most accessible film to date, is simply awe-inspiring in the way it conceals serious themes and anxieties about womanhood beneath a deceptively light surface.
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