‘Poor Things’: A Surreal Journey through Absurdity And Death

Alasdair Gray’s wit, Yorgos Lanthimos’ peculiar absurdism and Emma Stone’s versatile acting brings us a new movie, ‘Poor Things.’ Bella Baxter, our guide through this eccentric narrative, stumbles upon the formidable word that encapsulates her journey while conquering a Parisian brothel.

Adapted from Gray’s 1992 novel, ‘Poor Things’ has been a lingering idea in Lanthimos’ mind since 2009. The convergence of resources and talent, courtesy of successes like ‘The Lobster’ and ‘The Favourite,’ allowed the film to materialize. However, the shadow of Gray’s passing in 2019 looms over the production, infusing the storyline with themes of death, discovery, innocence, s*xuality and liberation.

Bella’s odyssey commences in the unconventional setting of Dr. Godwin Baxter’s residential laboratory, portrayed by the brilliant Willem Dafoe. A unique creation, Bella possesses the body of a deceased woman but the mind of the unborn child she carried. Dr. Godwin, aptly nicknamed ‘God’ by Bella, controls the flames of discovery, mirroring influences from Mary Shelley’s ‘Frankenstein.’ The film beautifully explores the love/hate dynamic between the creator and the creator.

As Bella’s journey unfolds, love interests stir the winds of change. Max McCandles, portrayed by Ramy Yousef, falls for Bella in an ‘Ex Machina’ style twist, leading to a complex love triangle with Duncan Wedderburn, played by Mark Ruffalo. The narrative navigates international adventures, mirroring real-world complexities and the struggle for autonomy.

Se*uality takes centre stage, intricately woven into the storyline, impacting Bella’s evolution. Lanthimos’ exploration of desire and the taboo of prostitution adds a layer of inventive humour. The film’s distinctive visual style, transitioning from black and white to a psychedelic colour palette, mirrors Bella’s transformation from infancy to adulthood.

While the film’s craft, including the use of fisheye lenses and impeccable art direction, deserves applause, a pacing gripe surfaces in the final act. The intuitive storytelling style feels occasionally rushed, leaving the audience with a flurry of summations that border on the epilogue, creating a sense of prolonged closure.

In the end, ‘Poor Things’ delivers what it promises—a happily ever after. The film’s surreal journey, fuelled by Gray’s narrative, Lanthimos’ direction and Stone’s exceptional performance gives us another film to add to our watchlist.