'The Favourite' A Review

The Favourite is part historical drama, part dark comedy loosely based on the brief reign of English monarch Queen Anne in the early 18th century. The film opens on the frail, volatile queen(Olivia Coleman) and her closest adviser, friend, and defacto head of state Sarah Chruchill(Rachel Weisz). Enter an estranged cousin fallen on hard times Abigail Hill(Emma Stone) who seeks to insinuate herself between the two in order to survive. Struggles of political, sexual, and emotional power simmer and erupt as the three combat for position, prestige, and favor.

Coleman is a revelation, rapidly cycling through kaleidoscopic emotions with such elegance and sincerity this seemingly pathetic character is fascinating and easily the strongest and most complex of the three leads. Her Anne is so raw but also so guileless, a fascinating portrait of a tragic life paired with the singular royal burdens of state. Weisz is captivating as the capable and commanding Churchill, a consummate politician, proficient with horses and guns, as well as etiquette. She is physical solid, almost imposing, and she moves through the film with an unflinching certainty which elevates her already inherent magnetism. Stone is the lone false step in casting. She is serviceable but is simply out classed by Colman and Weisz and as the narrative progresses and Stone is given more and more screen time this becomes more and more apparent. She doesn't have the range, or at least doesn't display it here, to captivate to the level that the film requires as it rounds into its third act. Her low key charm and wide eyes only go so far especially in comparison to Coleman's contagious effervescence and Weisz's emphatic confidence. The supporting cast are mostly men and all well cast and well played but they are mostly, and deliberately, window dressing in heavy makeup, involved outfits, and foppish wigs.

Visually the film is lush and stark in equal measure. Almost exclusively shot with wide-angel and fisheye lenses and confined to the palace a cavernous yet claustrophobic mood is evoked. Trance like and despite the period trappings seemingly out of time. The costumes feel appropriate but not period beholden. They serve to elevate, and evoke the moods and themes of the piece rather than a specific time. The ominous and repetitious score also serves to extenuate the mercurial genres and relationships the film encapsulates. The narrative is tight, fluctuating from absurd comedy to brutal drama on a dime without losing its way, however it does slow down considerably towards the end and concludes with more of an ellipses rather than a thrilling baffling crescendo which fans of director Yorgos Lanthimos may be accustomed to given his two previous films The Lobster and The Killing of a Sacred Deer.

Lanthimos always delivers something different, something unexpected, and always gets singular performances from actors. The script and Stone however fail somewhat to live up to the potential of the film. Not a deal breaker more a disappointment for those who are familiar with Lanthimos work. However it is his most approachable and accessible film while still maintaining his singular eye and bizarre(gratifying) sensibilities.

See It.