Period pieces are typically something of a hard sell. While they are often educational in at least some aspect, there’s an air of seriousness that’s off-putting to a broad audience. The Favourite cleverly blends humor and surprising historical accuracy with some very entertaining performances.
Yorgos Lanthimos always makes weird films. Interesting but strange. As an idea man, he’s always thinking outside the box and deciding to tell this particular story was an odd undertaking. It is based on a true story and it’s actually pretty accurate by the standards of biographical period pieces. The Greek director generally makes psychologically challenging films (The Lobster, The Killing of A Sacred Deer) and, once again here, the audience is forced to navigate some internal conflict and pick one side of a moral conundrum. It’s a smart tactic, especially when telling a story from the 18th century. By engaging the audience with some moral or ethical dilemma it brings them out of the typical observer/historian role associated with period films. Sometime in the not too distant future, don’t’ be surprised to see Lanthimos take home an Oscar for Best Director.
Between the dialogue and the character writing, the original screenplay Deborah Davis and Tony McNamara was stellar. Funny too. It’s not going to have you gasping for air but it’s smart and witty, and the humor is more a result of the situations and the characters in them without being punchline driven. The performances were enhanced by the individual subtleties of each person but it all started with the script.
While the film had all the quality earmarks one could hope for, this was a performance-driven film led by Olivia Colman as the incomparable Queen Anne (the English monarch ruled from 1702-1714 and oversaw the birth of the United Kingdom but this particular story takes place during the War of the Spanish Succession). Colman had a lot to juggle. Anne was beset by tragedy in every direction and living in poor health while still ruling a massive empire in the midst of a war. Finding the right balance wasn’t easy…and a truly accurate portrayal was never really in the cards…but Colman delivered a marvelous performance that showcased a wide range of emotional and physical strife. Her commitment to the role was unwavering and she is now in a position to win her second Golden Globe and perhaps her first Oscar.
As much as this was the story of Queen Anne, much of the promotional material for the movie saw the beginnings of a rivalry between Rachel Weisz’s Lady Sarah Marlborough and Emma Stone’s Abigail. Both of these characters are real as well and their squabble was a direct result of Sarah’s involvement in the war effort and Abigail’s opportunism regarding the Queen. Weisz and Stone are both superb talents and a wonder to watch played against one another. The constant positioning and manipulating isn’t that far removed from our current political spectrum and makes both of their characters equally loathsome at times. Both Stone and Weisz showcased traits that made their moral positions ambiguous and taking sides with one of the other was really what the movie was about. While both actresses delivered strong performances, they both took a back seat to Colman’s intricate depiction.
In the periphery, Nicholas Hoult was a surprising stand out. He played one of the Queen’s courts and leader of the opposition party, who mostly rallied against the cause of Lady Sarah. His disdain for her leads to some of the more enjoyable interactions while his relentless posturing leads him to seek the help of Abigail. Hoult has proven himself to be a versatile role player who doesn’t mind donning a costume or, in this case, a giant wig and makeup.
Speaking of costumes, wardrobe design and selection is a pivotal element of authenticity. This is an area that a period film cannot fail if it wants to be taken seriously. Costume Designer Sandy Powell crafted some beautifully elegant, complex pieces for the members of the aristocracy and some plain but genuinely bland outfits for the servant class. At a time in history when craftsmanship distinguished wealth and social standing, having the clothing to support that image and clearly identify those roles was a key element in the film’s narrative. As a complementary feature of the visual aesthetic, filming was done on location in England at the historic Hatfield House and some of the surrounding countrysides in Hertfordshire. While the house on screen was never actually the home of Queen Anne, it was the childhood home of Queen Elizabeth I and had been under control of the British Crown for some time. The magnificent architecture and stonework were incredibly photogenic and the substantial history of the extensive grounds lent immeasurable authenticity to the project.
Understanding how to capture all that majesty on film was a different challenge taken on by Director of Photography Robbie Ryan. He utilized a lot of natural light to showcase the interior design, including the secret tunnels throughout the property. While the film didn’t incorporate an original score, it showcased a superb selection of classical music to accompany the emotional swings on screen with selections from the likes of Bach, Handel, Purcell, and Vivaldi. Including those icons, as well as contemporary composers, created a rich and authentic soundtrack that provided important fluidity to a sometimes rigid story.
It’s fairly easy to appreciate the strong production value and filmmaking that went into this project but I’m not so sure that’s enough to make it a memorable film down the line. At just under two hours, it felt a bit long even though it was broken down into 8 chapters but that did give it a certain venerable charm. The audience doesn’t quite get what they want for any of the characters but I was still able to find it fairly enjoyable despite the lack of desired resolution.
Recommendation: See it for the performances and for Lanthimos’ challenging moral ambiguity. Go into it with moderate expectations and you won’t be let down. I was anticipating a different experience based on the trailer, so be prepared. There is a lot of sexuality on display and overall it’s a very adult film.