In the enthralling cinematic narrative of Poor Things director Yorgos Lanthimos presents a profound exploration of identity, autonomy, and the human condition. This film, a reimagined iteration of Mary Shelley’s Frankenstein, stars Emma Stone as Bella Baxter, a woman resurrected with the consciousness of an infant.

Through the conceptual prism of Gilles Deleuze and Félix Guattari’s ‘body-without-organs’ and influenced by Deleuze’s insights on Francis Bacon’s art, Poor Things emerges not merely as a film but as a philosophical inquiry into the essence of being and creation.

Narrative and Characterization: Bella Baxter as the Embodiment of Potentiality

The narrative of Poor Things unfolds in the murky alleys of London, a setting that is as much a character in the film as the individuals inhabiting it. Dr. Godwin Baxter (Willem Dafoe), in his audacious act of reanimation, introduces Bella Baxter (Emma Stone) to the world – a world she navigates with the nascent consciousness of a newborn.

As Bella’s self-awareness blossoms, she exhibits an insatiable curiosity about the world. She embarks on an odyssey alongside her flawed yet charismatic companion, the roguish lawyer Duncan Wedderburn, portrayed by Mark Ruffalo. Duncan introduces Bella to the world of sensual delights, briefly satisfying her burgeoning desires. However, this satisfaction proves fleeting, as Duncan’s initial allure gives way to possessiveness, stifling Bella’s burgeoning thirst for intellectual and experiential growth. Her odyssey, stretching from the dim, enigmatic alleys of London to the vibrant boulevards of Paris, transcends mere physical travel. It symbolizes Bella’s profound journey towards self-discovery, emancipation, and the pursuit of a life crafted on her own terms.

In Deleuze and Guattari’s conceptualisation, the ‘body-without-organs’ represents a field of infinite potentiality, a departure from the structured, organised body to a state of destratification and liberation from conventional definitions.

In A Thousand Plateaus, they describe this as ‘a body populated by multiplicities’ (Deleuze & Guattari, 1987, p. 40). Bella resurrected with an infant’s consciousness, embodies this multitude of potentialities, challenging traditional narrative structures.

Emma Stone’ character embodies this concept, traversing a journey from being an object of Godwin’s creation to a subject of her narrative. Her existence challenges the conventional binaries of creator and creation, autonomy and dependency, reflecting a Deleuzian revolt against structural hierarchies.

Visual Aesthetics: Robbie Ryan’s Cinematography and the Logic of Sensation

The visual narrative of Poor Things, crafted meticulously by cinematographer Robbie Ryan, complements and amplifies the thematic undertones of the film. The transition from the stark monochromatic hues of London to the vivid, pulsating colours of Paris is not merely a change in the backdrop but a visual metaphor for Bella’s transformation. This evolution in colour palette reflects Bella’s psychological and existential metamorphosis from a ‘tabula rasa’ to a sentient, self-aware individual.

Drawing parallels with Deleuze’s work on Francis Bacon, Poor Things employs a ‘logic of sensation’ rather than a logic of representation.

Robbie Ryan’s cinematography in Poor Things aligns with Deleuze’s discussion of Francis Bacon’s art in The Logic of Sensation. Deleuze notes: ‘What is important is the possibility of a line going through all points: a line of sensation’ (Deleuze, 2003, p. 35). This idea is reflected in the film’s transition from monochrome to vivid colours, representing Bella’s psychological transformation.

The film’s visual language, much like Bacon’s art, seeks to evoke direct, visceral responses. It does not merely depict reality but fractures and reconstructs it, inviting the audience to experience the raw intensity of the characters’ journeys. The cinematography, with its deliberate play of light and shadow, colour and texture, serves as a canvas where the internal landscapes of the characters are externalised, creating a rich mosaic of visual and emotional stimuli.

The Feminist Discourse: A Reevaluation of Gender Dynamics

The feminist undertones of ‘Poor Things’ are a subject of profound contemplation and debate. Critics like Samira Ahmed of The Guardian have dismissed the film as a ‘middle-aged man’s fantasy’, questioning its feminist credentials. However, such a critique narrowly confines the film within the parameters of its director’s gender, overlooking the layered complexity of its narrative and character arcs.

Emma Stone’s portrayal of Bella is a testament to the film’s feminist ethos. Stone infuses Bella with depth, autonomy, and complexity, challenging the trope of the passive female subject. Bella, both a creation and a creator, navigates her existence with agency, defying the traditional narrative confines imposed on female characters. The film, through Bella’s journey, engages in a nuanced discourse on female autonomy, identity, and sexuality, reframing the feminist narrative not as a monolithic construct but as a spectrum of experiences and perspectives.

Conclusion: ‘Poor Things’ as a Philosophical Inquiry

Poor Things transcends the realm of conventional cinema, emerging as a philosophical inquiry into the nature of existence, creation, and identity. The film, through its narrative intricacies, visual symbolism, and complex character dynamics, invites the audience to embark on a Deleuzian journey into the ‘body-without-organs’. It challenges preconceived notions of identity, autonomy, and narrative structure, presenting a cinematic experience that is as intellectually provocative as it is visually arresting.

In conclusion, ‘Poor Things is a canvas where existential dilemmas, feminist discourses, and artistic expressions converge. It is a testament to the transformative power of cinema, a medium that not only tells stories but also evokes, questions, and transcends.

Bibliography:

Ahmed, S. 2024. ‘She’s bound and gagged for laughs’: is Poor Things a feminist masterpiece – or an offensive male sex fantasy?’. The Guardian. https://www.theguardian.com/film/2024/jan/24/bound-gagged-poor-things-feminist-masterpiece-male-sex-fantasy-oscar-emma-stone-ruffalo

Deleuze, G. (2003). Francis Bacon: The Logic of Sensation (D. W. Smith, Trans.). London: Continuum.

Deleuze, G., & Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia (B. Massumi, Trans.). Minneapolis: University of Minnesota Press.