Preamble

It’s probably old hat at this point to say that choosing one’s first review of a new year is always tricky. In many ways, it sets the tone for what’s to come and is a good indicator of the direction of the blog over the year. Or perhaps that’s just poppycock, and I’m overthinking it all. Today marks the day that the new film from Yorgos Lanthimos (Poor Things) finally hit UK cinemas. Usually, I would be jumping with joy for a release like this. However, just from a cursory knowledge of the Greek filmmaker’s work, I feel I don’t have a read on him. So, I decided to catch up with a few of his films before seeing his new work. With that said, have you seen The Favourite? Let me know in the comments below.

Brief Consideration

During a pivotal scene of The Favourite, a character firmly says, “Because I will not lie. That is love.” It’s a signature moment that encapsulates the film’s sense of frankness that juxtaposes with an authentic sense of pathos and wit. The 2019 film depicts a battle for the affections and ear of Queen Anne (Olivia Colman) between Sarah Churchill (Rachel Weisz) and her poverty-stricken younger cousin, Abigail Hill (Emma Stone).

Aside from the twists and turns of the two women trying to cement their place within Queen Anne’s court and bedroom, The Favourite examines the concept of love and how it correlates with honesty. Sarah and Abigail both have their ways of charming Anne. The former does it through a frankness that always hides an internalised desire. She both spurns and cherishes the Queen in equal measure. Abigail does it through warmth and empathy that always elevates the monarch.

It’s in the spaces between these states where the performances are quite interesting. Rachel Weisz’s portrayal of a subdued love and affection for the Queen is palpable when contrasted with her forthright and sharp line deliveries. On the other hand, Emma Stone’s moments of Machiavellian mischief that manifest in an almost mockish sense of courteousness stand out. Aside from depicting an underhanded family resemblance in how they handle situations, the women’s duelling natures shows how they must behave and do cruel things to escape the scourge and humiliation of a lower-class existence that insults their womanhood.

The battle of self-preservation versus the sense of doing bad things in the name of love of country is when the Favourite’s screenplay truly soars. Likewise is a small thread where Abigail playfully (and sometimes sadistically) dresses down and flirts with a male suitor (who publicly dresses and looks like a women). In this regard, the amusing nature of the irony and black humour emerging from the reversal of gender roles is excellent.

However, the real surprise of the film comes from Queen Anne. Initially portrayed as a childish queen in the vein of Elizabeth I from Blackadder II, Olivia Colman’s performance instead makes the monarch a tragic figure who sees talent and excellence as a mirror for her insecurities. Her seemingly childlike habits portray a sense of her trying to turn her tragic circumstances into temporary moments of happiness. In this sense, the final surreal shot that crossfades the Queen’s various pet rabbits and Abigail’s face seeks to illustrate how the film portrays the monarch as someone who is adrift in a flurry of loss and tragedy.