‘Poor Things’ is a compelling feminist reimagining of Frankenstein’s monster in which an innocent young woman learns the ways of the world.
While Mary Shelley’s Frankenstein was a warning against pushing science beyond logical and moral limits, the publication and success of the novel was a feminist triumph as Shelley defied the norm and demonstrated women were capable of writing complex, engaging narratives. However, she was still guided and restricted in her character creation by 19th century society and its conventions. Since the story’s circulation, many creators have altered and extrapolated the tale to deliver different messages or accentuate the horror at its centre. The latest film to be inspired by Shelley’s work is Poor Things.
Dr. Godwin Baxter, a.k.a. “God” (Willem Dafoe), is a brilliant surgeon and scientist with a ghastly reputation. After a lecture on human anatomy, Godwin calls upon Max McCandles (Ramy Youssef), one of the few students to not be entirely appalled by his work or scarred appearance, to request his assistance with a project in his home. Max is tasked with observing Bella Baxter (Emma Stone), a young woman who appears to be mentally regressed, and recording her cognitive progression. The house is filled with evidence of Godwin’s experiments — a mix-and-match menagerie that could’ve escaped from Dr. Moreau’s island — causing Max to wonder what Godwin may have done to this girl to affect her behaviour. The truth is astonishing, yet somehow further endears Max to Bella. But she grows curious and demands to see the world, whether they’re willing to show her or not.
Bella is a sponge for knowledge, gradually consuming all the information she can from geography to philosophy. But her base motivation for exploration is her sexual awakening. Discovering her genitals like a toddler, she becomes fixated on sensation and orgasms, nurturing an insatiable sexual appetite, which translates to a desire for the realm beyond her four walls. The pleasure she gives herself causes her to conclude there must be other equally enjoyable experiences in the world and she’s eager to find them. She is the epitome of innocence, projecting honesty in every action and interaction, which is simultaneously amusing, refreshing and off-putting since it’s so unusual for someone to speak their mind so freely and without fear.
However, as Bella is maturing exponentially, her outlook on the world is also evolving. She learns about preferences and autonomy, encounters poverty and sorrow, realizes her body holds monetary value, and uncovers the truth about her conception and relationship to Godwin. She feels very strongly and must learn to control her impulses, though even her seemingly thoughtful actions have unfortunate consequences. Bella’s journey of self-discovery is enthralling, occupying the narrative’s foreground, while Godwin and Max are left behind to try to fill the Bella-sized hole in their lives with other experiments.
Stone’s performance is exceptional, sincerely portraying Bella’s development from infant to mature young woman. The film’s success rests on her shoulders and she is flawless in raising it above any chance of mediocrity. Similarly, Dafoe’s Godwin is unapologetic, never wondering if he should, but only if he can. Yet, he finds a fine line between the doctor’s God complex and genuine emotion. Youssef plays the least self-possessedcharacter in the film, allowing the chips to fall where they may and never attempting to exert his will or raise his wants over other’s. Conversely, Mark Ruffalo’s Duncan Wedderburn is the picture’s most selfish personality, taking advantage of Bella’s naiveté and indulging in every sin imaginable until his ruin culminates in one last vindictive act.
Director Yorgos Lanthimos’ film has all the makings to be one of the year’s best pictures with many award’s nominations in its future.
Director: Yorgos Lanthimos
Starring: Emma Stone, Mark Ruffalo and Willem Dafoe
