'Poison' on Netflix review: Fast-paced, intriguing, performance-driven
What's the story
As one of the most ingenious and experimental directors today, Wes Anderson has come to be known for his color palettes, expositions and constant running commentary, aesthetically pleasing frames, and a variety of aspect ratios.
In his series of short films for Netflix based on Roald Dahl's short stories, all these aspects converge, and the final short, Poison, teems with his trademark elements.
Plot
Story of 'Poison': Direct, simple premise
Like Anderson's previous shorts, here, too, the premise is simple and direct.
In colonial India, an Englishman, Harry Pope (Benedict Cumberbatch), is fear-stricken at the thought that a krait, a type of deadly snake, has glided inside his clothes and will bite him anytime.
His servant, Woods (Dev Patel), calls Dr. Ganderbai (Ben Kingsley) right away, who tries his best to "save" Pope.
#1
Takes us back to 'The Wonderful Story of Henry Sugar'
In many ways, Poison feels like a homecoming, like Anderson's anthology has come full circle.
The first short—The Wonderful Story of Henry Sugar—also starred Cumberbatch, Kingsley, and Patel (and a special appearance by Ralph Fiennes), and all these actors return for Poison.
The vibrancy and warmth that was absent in The Swan and The Rat Catcher's color palettes have come back, too.
#2
Cumberbatch and Patel do lot of heavy lifting
Anderson's second-best strength, apart from his meticulous, symmetrical frames and well-thought-out, creative camera angles, is his confidence in his actors and deciding who plays what part.
Here, Cumberbatch remains bedridden for the majority of the part and lets his face and voice do all the acting, while Patel's acting is more physical—he bends, runs, crouches, and narrates. There's a lot for him to do.
#3
Thrill and suspense dominate 'Poison's narrative
A sense of urgency, emergency, and immediacy defines Poison, and this is unsurprising since it talks about saving a life (though that life didn't need saving were it not for Pope's overexaggerations).
Anderson's usual aspect ratio disappears and the short film becomes a chamber thriller, having been shot in mostly one physical space.
Pope doesn't speak, he whispers, further creating an air of suspense.
#4
Commentary on colonialism, Britishers' idea of India
Toward the end comes Posion's most intriguing part when Dr. Ganderbai and Woods tell Pope that there's no snake!
Offended that he has been termed a liar, a delusional Pope calls Dr. Ganderbai a "backward caste man...a dirty sewer rat."
This is a reminder of colonial India and how even educated Indians consistently remained on a lower pedestal in front of Englishmen.
#5
Problems: Story with abrupt, sudden ending
Like The Swan and especially The Rat Catcher, Poison, too, simply ends without a definitive conclusion, and credits begin to roll at a point when you feel that the film is still pregnant with possibilities.
In addition to that, the long-winded exposition, delivered at lightning speed, sometimes cuts through the central narrative, and I'd love to simply enjoy the film without that exposition!
Verdict
If you ignore minor flaws, 'Poison' will entertain you
If you can bear with Patel's terribly fast narration speed, there is fun to be had along the way as you watch Poison.
There is tension, drama, suspense, and a sense of familiarity while watching the story unfold. I particularly like the post-credits that look like they are handwritten by someone with perfect penmanship.
Come for Dahl, stay for Cumberbatch.
Rating: 3/5 stars.