J Ust, when we thought Olivia Colman could not get better, she rose in a bizarre black comedy from the 18th century with a rousing performance as Britains needy and emotionally wounded Queen Anne to star in the movie. Century Court, an open-minded and enthusiastic quasi-restorer murderer full of intrigue and intrigue ̵
There is a cheerfully obscene original script by Deborah Davis and Tony McNamara, directed by the Greek author Yorgos Lanthimos to him of the absurdity for which he is already known, along with something even more jagged and uninhibited. In fact, The Favorite likes Lanthimos & # 39; s affection to Arthouse Torpor have corrected. It's an unscrupulous and often hilarious movie, infused with the nightmarish visions and wide-angle distortions invented by cinematographer Robbie Ryan.
At first, I thought these stylizations would be unbearable and even had the unworthy thought that this script could work with a Trad-style trad director. But no. The acclimatization of visual and verbal rhetoric does not take long, and the point is that Lanthimos' provocations pump and enliven the script, which has become a mere hood and ruffle drama with a conventional director for the rough language ,
Olivia Colman's Queen is a really fun creation – maybe funnier and more sympathetic than her Queen Elizabeth II for Netflix, but who knows how she's going to reinvent that role? Your Anne is something between the QEI that Quentin Crisp has created in Sally Potter's Orlando and a weird mix of Nursey and QEI in Blackadder. But that does not do justice to her Queen Anne's sadness: someone who has been infantilized by lifelong emotional manipulation. It is transported everywhere by wheelchair or litter, but it can run just as well. Sometimes she gets into a relationship between anxiety and anger at the sound of the music or the spectacle of the people who enjoy themselves because they do not like themselves. There is a private tragedy in her life, which means that her emotional energies in her big menagerie have been displaced by domestic rabbits and she shows great interest in racing ducks and lobsters. Again, in the hands of an actor who was not funny, it could have been terrible, but Colman sells everything.
Weisz plays her favorite courtly and intimate Lady Sarah, who uses every sly sexual and emotional trick to keep the monarch co-dependent and keen on raising taxes for a continuing French war, Lady Sarah's warrior man Marlborough ( Mark Gatiss). This is to the dismay of Minister Robert Harley (Nicholas Hoult). Then comes a gentleman and cousin of Sarah, who has fallen into hard times, as a servant to the farm: this is Abigail (stone), whose knowledge of medicinal herbs helps the gout of the queen. Her Majesty radiates the pretty little thing. So also the predatory nobleman Lord Masham (Joe Alwyn). The competition between Abigail and Sarah is like the equivalent of 18th-century Donkey Kong.
If there is a flaw in the film, it is likely that Colman Stone and Weisz will inevitably skyrocket and their very important face-off will be in the shadows. That's a small consideration. The favorite is full of crazy zingers and deeply weird laugh lines: I loved the idea of someone sleeping like a "shot badger". (There's a lot about badgers.) And The Favorite reminds us that the idea of kingship was polite and painfully sentimental with Queen Victoria: the favorite is more punk than that. It's a rousing, bad, hangover cat.