Take a Drink: when the rules of the hotel are broken
Take a Drink: when someone says a matter-of-fact statement that would seem an insult in any other context.
Take a Drink: for animals in places they shouldn’t be…
Drink a Shot: whenever single people couple-up
By: Oberst Von Berauscht –
Mild-mannered David (Colin Farrell) has checked into a hotel for singles. The rules of the hotel are simple: you have 45 days to find a partner, but those who fail are transformed into an animal of their choice. David is awkward in relationships, and cannot seem to be able to strike up so much as an honest conversation with the opposite sex… that is until he begins lying.
Is the pressure to find the perfect true love in life too high? Are the life and death stakes we put on romantic relationships ultimately empty? Is being single really akin to losing your humanity? The Lobster poses many questions. To be honest, I’m not sure I want to know the answers.
The Lobster is created by director Yorgos Lanthimos (Dogtooth) and he brings a unique stamp of quality to the proceedings, embodied mostly in the dialogue, which carries with it an alien cadence which is almost impossible to define. Characters speak lines to each other that are so matter-of-fact it is almost painful, but is also painfully hilarious. The world of The Lobster is unsettlingly orderly, with specific rules that everyone follows. Even for those few single people who run out into the woods to become loners, rather than face life as an animal or with a couple, there are rules that must be followed, with dire consequences for those that fail to conform.
Colin Farrell’s career once appeared to be aiming for the Russell Crowe-level of big-budget features. Farrell might have A-List looks, but his career choices of the last 5 or 6 years have proven that he’s a character actor at heart. Unlike other lead actors of his generation, who have done bigger and more expensive epics, Farrell continually takes challenging roles in interesting films, with no regard for big paychecks. In The Lobster he brings this same enthusiasm to his character David. David is a psychologically wounded man, whose trip to the Hotel seems assured of utter failure. He watches as the singles around him go out of their way to please their partners, even making up lies to make themselves seem more appropriate.
David soon follows suit, convincing a sociopathic woman that he is also sociopathic (with predictably unfortunate results for all involved).
The Lobster has a depressing vibe to it throughout. The Hotel, which is located in what looks like the perfect place for a vacation, is painted with a dour tone, made to feel artificial and soulless. The woods are perpetually rainy and wet, and the city is a hive of consumer goods and suspicion. As it becomes clear that he has truly fallen in love, director Yorgos presents David with a final test of his devotion, leaving the audience to decide whether it succeeded or failed.
With magnetic performances, unique visuals, and perhaps 2015’s weirdest screenplay, The Lobster may not win any awards, but it never ceases to fascinate.