Or rather…
Framing is everything, really. How you frame something, as an artist, will influence how the audience responds to your art. Historical period films are sometimes like looking through a small window. We get to see whatever the filmmaker chooses to present to us, and sometimes the rest of the scene is withheld from view. So how a historical figure or event is presented to us is a big part of not just how we understand the story, but also how entertaining it is. Yorgos Lanthimos frames this normally dull subject matter with a flourish of eccentricity. Of human peculiarity. It’s like all of these characters’ zany personality quirks have been incorporated into the style of the film itself.
For instance, I really like the choice to use unusually wide angle lenses, even dramatic fish eye lenses – something atypical for period pieces, since it’s draws attention to the filmmaking itself. It causes an interesting and unanticipated effect: Even though the camera angle includes so much of the room and setting, it actually makes it feel even more claustrophobic. The rooms of the palace are so decorated and ornate – every available space is adorned with intricate designs and embellishments. So, the occupants are constantly confronted by the extravagance of their surroundings. Feeling overwhelmed by the ornamentation of it all. Which is, of course, an analogy for the lifestyle and culture itself. Constantly guided by tradition and custom. Everything from the clothes they must wear, to the people they must constantly be in contact with, to the stark societal hierarchy of the age. It has to feel so suffocating. For Queen Anne, she’s constantly surrounded by people, supported by people. And yet she’s clearly very lonely.
I think maybe they were trying to hide themselves in all that décor. By showing ALL of the room, with all its unnecessary decorations, Lanthimos gives the illusion that nothing is being left uncovered or withheld, when in fact the opposite is true. And that’s often what happens with movies about historical royal figures. We don’t often get to see what they look like under the makeup and the hair and the incredible clothing. We don’t get to see all the weird human interactions that take place between the highest levels of royalty when they’re not governing the world. I’m generalizing here of course. But The Favourite just sticks out so much in comparison to other stuffy period dramas I’ve seen. It manages to feel very modern and fresh while still relying on period themed music and dialogue and all that (unlike, say, a movie like Marie Antoinette, which sought to achieve the same effect by using modern music and editing, etc (which I also liked, but for different reasons)).
The Favourite is also emboldened by its three lead roles, played by Olivia Colman, Emma Stone, and Rachel Weisz. What a treat. All three of them turn in Oscar-worthy performances. It’s likely that none of them will be rewarded for their work this year, which is a shame. Each one of them brings a different energy to their role, and the energy mingles together and buzzes and just creates this extremely engaging relationship that feels totally real and vibrant and, at times, toxic.
All in all, this film is an unexpectedly entertaining comedy/drama. It moves along at a brisk pace, and is chock full of wit and character. I admit, it won’t be for everyone. But for those in the mood for an off-center reimagining of a historical drama, look no further.
File under: To watch again.