Review: Emma Stone brings a feminist Frankengirl to life in 'Poor Things'

You know you’ve made it in Hollywood when your style is instantly recognizable, and Greek director Yorgos Lanthimos, the wacky mind behind the weird films “The Favourite” and “The Lobster,” has made it. Not only do his always-off characters leave an impression, but the worlds he builds are a fantasy playground filled with quirks and debauchery in the best form.

With “Poor Things,” he brings another wild tale to life with his usual beats, from memorable characters to stunning production design. But Lanthimos also manages to make the story feel more “human" than his other projects, as we discover life and womanhood through Frankengirl Bella Baxter’s eyes.

“Poor Things” reteams Emma Stone and Lanthimos for their second feature film. In this foray, the Oscar winner plays Bella, a woman who looks like she’s in her 20s or 30s, but acts much like a child. The reason for that is simple: A pregnant woman named Victoria (also Stone in quick flashbacks) jumped to her death, and Dr. Godwin Baxter, God for short (Willem Dafoe), found her body and placed her child’s brain into her head, thus creating Bella. As his creation, she gets to start over and discover life one unsteady step, tantrum and food throw at a time.

What she most desires is to see the world, but instead of letting her spread her wings like any parent does, God wants to keep her trapped in his science experiment home. He also wants her to marry his student Max (Ramy Youssef), so that they can remain under God’s watchful eye at all times. It’s no wonder, then, why cinematographer Robbie Ryan captures the first part of the film in black and white — it’s a drab life for Bella — and in claustrophobic angles and fisheye lenses. But Bella soon meets lawyer and womanizer Duncan Wedderburn (Mark Ruffalo), who she believes will be her savior when he proposes to show her the world.

As the two set sail on their adventures, Bella finally gets the look at the outside that she’s been longing for. The film’s production design team paints the world in every shade under the sun and fills each city with steampunk-style buildings, paired with colorful, eccentric costume design. Bella’s adventures include quite the sexual exploration, which she hilariously refers to as “furious jumping,” along with chastising lessons on how to behave properly in society (although scarfing down Portuguese pastéis de natas is very relatable).

However, the more she seeks freedom, the more the men around her want to shackle her down, and it’s captured with humor and suffocation in Tony McNamara’s script. Duncan can be extremely charming and seductive in one moment, but the second he sees Bella losing interest or wanting to do something herself, he loses his cool and seeks ownership of her.

Her happiness is also ruined when she is introduced to the horrors of the world by a ship passenger (Jerrod Carmichael) who can’t stand to see someone be so pure. But Bella never backs down from being her true self, even as she gains a deeper grasp of the complicated and twisted world.

Stone is magnificent in the role, giving the best performance of her career and playing one of the more fascinating characters ever seen on screen. She’s carefree as she discovers new places and people, but she always remains in control of any situation. Her sexual exploration as a woman is among the more important and exciting aspects of the film, particularly in the way that she doesn’t have any inhibitions.

She discovers self-pleasure on her own terms and wants more of it and other intimate adventures – isn’t that how it always should be? Of course, the men around her don’t want her to act out all her desires, and it especially becomes a sore subject for Duncan when she joins a Parisian brothel to earn money. But, again, Bella is on her own journey, and no man will ever stop her from doing what she wants.

McNamara’s script is bursting with energy and full of so many hilarious lines. I’m certain you’ll hear someone say, “I must go punch that baby,” if one is crying in public, or utter, “Why keep it in my mouth if it is revolting?” when given subpar food. If there is a criticism to give, it is interesting how there’s no mention of menstruation or any scenes where Bella has to navigate that part of cis-womanhood, despite the film being all about her female discovery. It’s a slight detail that would be easy to overlook, but it is a curious one to omit given the off-the-charts feminist story.

The onslaught of supporting men in this film are also fantastic in their own ways. As the mastermind behind Bella, Dafoe is brilliant as the scar-faced mad scientist, who is so affectionate toward his little experiment. Ruffalo is simply electric as Duncan, nailing his comedic timing and letting his naughtiness seduce both Bella and us, until he shows his true colors. Christopher Abbot also joins the rambunctious crew later on (I won’t mention in what role), and despite his very short screen time, he leaves quite the impression.

“Poor Things” is wacky, silly and sexy in all the best and weird ways. Stone and Lanthimos seem like the most unlikely Hollywood collaborators, but almost like a Franken-creation themselves, they lend different parts of their talents and creative minds to bring one fantastical, strange pairing to life.

How to watch

What: "Poor Things" Talking Pictures screening at Palm Springs International Film Festival in conversation with director Yorgos Lanthimos, actor & producer Emma Stone, and actor Mark Ruffalo

When and where: 11:15 a.m. Friday, Jan. 5 at the Annenberg Theater at the Palm Springs Art Museum, 101 N. Museum Drive, Palm Springs

Cost: $30 (stand-by tickets only left)

More info: https://psfilmfest.org

Ema Sasic covers entertainment and health in the Coachella Valley. Reach her at ema.sasic@desertsun.com or on Twitter @ema_sasic.

This article originally appeared on Palm Springs Desert Sun: Review: 'Poor Things' explores womanhood through a Frankengirl