Disney+ hosts the 2024 Best Actress Oscar winner.

Emma Stone’s energetic and impassioned portrayal of a synthetic being in this fantastical retelling of “Frankenstein” earned her a justifiable Academy Award for Best Actress.

In addition to Best Costume Design, Best Makeup and Hair Design, and Best Production Design, Yorgos Lanthimos’s “Poor Creatures” was honored with Best Makeup and Hair Design.

This small marvel symbolizes an enormous leap in Lanthimos’s visual style, and now that it’s available on Disney+, we can get it back. From his debut worldwide hit, “Canino,” to more recent works like “The Favorite,” “The Sacrifice of a Sacred Deer,” and “Lobster,” this director has been criticizing societal conventions and paradoxes in all their forms.

The unforgettable Bella Baxter is introduced to us in “Poor Creatures” as a young woman who has passed away but is brought back to life by a clever but unconventional scientist. Intrigued by the world of knowledge, Bella runs away from the doctor and ends up in the hands of a depraved playboy. On her wild voyage, she will learn about friendship, sex, and most importantly, her own femininity and all that it entails.

Here, the Monster is front and center, and the film is an ambitious canvas of all the social traditions that deserve satire, which, regrettably, display all their absurdity when viewed through the determined and innocent eyes of Belle. From the societal expectations placed on women to the subtle forms of oppression faced by the most vulnerable members of society, ‘Poor Creatures’ showcases remarkable badass. While it may not have the enigmatic and captivating quality of previous Lanthimos features, its eccentricity and fearlessness make it a priceless gem.

This is the third feminist adaptation of the Frankenstein story that I have watched in the last six months, and I really liked Lisa Frankenstein. The crazed scientist in one of them is a woman (The Angry Black Girl and Her Monster). As the antagonist in the second, “Poor Things,” she plays a key role.

Some may even call Lisa Frankenstein “the Bride.” I thought it would be interesting to examine how each of these works re-storied the Frankenstein myth and why as we get ready for the Oscars. Poor Things looks to be a major contender for several top awards, including Best Actress, which Emma Stone is in a strong race for with Lily Gladstone (Killers of the Flower Moon).

I started this conversation on Facebook by asking what it meant that there had been so many female-centric adaptations recently; for example, Maggie Gyllenhaal is directing Bride of Frankenstein, and Guillermo del Toro is tackling the same story from a different angle.

Mary Wollstonecraft Shelley, lauded as a proto-feminist in her own right, was the author of Frankenstein, if we return to the original source. A miscarriage had befallen Shelly a few months before to commencing work on the book. In one of her descriptions, the monster is called a “abortion.

” Nowadays, a lot of people believe that she was hurt by the cold and heartless way that her husband Percy and his friend Lord Byron dealt with her after the birth of their child. This is why she created the novel. “Frankenstein is deeply concerned with natural as opposed to unnatural modes of production and reproduction,” says Anne K. Mellor, a Shelley scholar.

“It’s about what happens when a man tries to have a baby without a woman… ” Dr. Frankenstein, his monster, and the other academics and assistants who shared his vision of a “bold new world” where humans could create life are all portrayed as men in this reading of the narrative. Not the monster himself, whose naiveté unprepared him for the harsh realities of life, but his doctor, who shows no mercy and leaves him very immediately after birth, is the most repulsive part. In Poor Things, Godwin Baxter plays the role of a more compassionate parent who unwillingly lets his creature venture out into the world.

The campy queerness in Bride of Frankenstein by James Whale is a topic worthy of much discussion. Although the monster’s mate only makes a brief appearance in the film’s last moments, some have contended that the title actually alludes to Elizabeth, Victor’s newlywed wife, and Elsa Lancaster, the film’s bride and screenwriter. But in a later scene, Victor and Dr. Septimus Pretorius hold hands with the Monster’s Mate, echoing an earlier scene in which Percy and Lord Byron stand beside Mary Shelley; this further implies the dissolution of the two roles.

In order to portray the “unnatural act” of creating the monster, both Kenneth Branaugh’s Frankenstein and Paul Morissey’s Flesh of Frankenstein rely significantly on homoerotic imagery. Frank-N-Furter, played by Tim Curry, is a “sweet transvestite” who appears to queer everyone he meets in The Rocky Horror Picture Show. He also plays the part of the crazy scientist.

By reimagining the story with female protagonists in traditionally masculine positions, recent Frankenstein films have posed fresh concerns and given new interpretations to the classic tale. So far, I’ve only seen discussions that center on Poor Things and gender/sexuality without mentioning the other films. I invited Kris Longfield to participate in this dialogic article since she offered some insightful recommendations in response to my Facebook post raising the subject.

This past Saturday, Svengoolie showed an episode called Bride of Frankenstein, therefore I’m thinking about Bride again. It carries a heavy weight of oppressive control and strange resonance in modern times; Dr. Frankenstein is compelled to create the Bride by Dr. Pretorius and the Monster after Elizabeth is abducted, with the strong implication that a female monster would alleviate the Monster’s loneliness because she would be an ideal mate for him. But her aversion and rejection only serve to heighten the Monster’s feelings of isolation and frustration, and he ultimately decides to blow up the lab while the Bride and Dr. Pretorius are inside. The right to a spouse has varying degrees of incel.

Disney+ hosts the 2024 Best Actress Oscar winner.

Emma Stone’s energetic and impassioned portrayal of a synthetic being in this fantastical retelling of “Frankenstein” earned her a justifiable Academy Award for Best Actress.

By triji

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