In the mesmerizing world of film, 'Poor Things' has emerged as a spectacular Frankenstein-esque fantasia, featuring the tale of a young woman breathed back to life by a demented surgeon. But the real masterpiece lies in the behind-the-scenes work that fashioned the film’s peculiarly warped universe— an act of mad cinematic science par excellence.
This cinematic oddity crafted by Yorgos Lanthimos takes all the traditional elements of classic Hollywood— sprawling sets, miniatures, opulent costumes— complementing them with understated touches of cutting-edge technology. Indeed, the film itself is a Frankenstein creation, marvellously stitched together without leaving a noticeable scar.
“Poor Things” is deeply rooted in a Victorian era setting, then expands into realms of surrealism. Imagine a sci-fi narration of the Victorian era, says Shona Heath, one of the two production designers, and you'll get a glimpse of what 'Poor Things' offers.
Based on the 1992 novel by Scottish novelist Alasdair Gray, 'Poor Things' crafts a convoluted world characterized by an innocent perspective of Bella Baxter (Emma Stone), a woman described by Dr. Godwin Baxter (played by Willem Dafoe) as one whose mental age and body are slightly at odds.
Nominated for seven Golden Globes and winning the top prize at the Venice Film Festival, the movie's richness of craft has won critical acclaim.
Key collaborators who helped bring 'Poor Things' to life - production designers, costume designer Holly Waddington, and cinematographer Robbie Ryan - created a 'Victorian era, but tweaked' world. They birthed grand sets, intricate costumes, and enabled a visual voyage from Baxter’s London townhouse to Lisbon, Alexandria, and Paris, with every step transforming into an excursion of self-discovery and sexual liberation for Bella.
One of the highlights of the film was Bella's wardrobe which charted her growing independence. Waddington, the costume designer, created outfits expressing Bella’s reanimated nature, her rapid evolution, the animalistic aspect and finally her similarities with modernity. Undoubtedly, Bella's outfits are a work of detailed brilliance!
Ryan, the cinematographer, although known largely for his naturalist approach, lit the Victorian era sets with modern lights and filmed 'Poor Things' in an uncomplicated way. Despite the wildly ambitious visual references and ideas, he insisted to shoot as much as possible in-camera. Ryan adopted a few tricks and techniques from 30’s cinema and sought to frame shots using wide and fish-eye lenses.
The ambitious journey of creating 'Poor Things' is one of a thrilling ride, an exciting experiment, and a cinematic rebirth, having built, destroyed, and rebuilt an entire universe to bring Gray’s book to life. It takes you on a tumultuous journey from conception to destruction, births a plethora of feelings, and lives on gloriously in the world of cinema. Surely, 'Poor Things' is a film that jumps off the screen, defying norms and shaking the foundations of the conventional — a remarkable tour de force that embraces extremities and births something never seen before. Such a creation, dear reader, is not just worth watching but worthy of heartfelt admiration.
