The Lighthouse

Release: Friday, October 18, 2019

→Theater

Written by: Max Eggers; Robert Eggers

Directed by: Robert Eggers

In 2016 Robert Eggers transitioned from production designer to director. Even then it was clear he was a filmmaker with uncommon confidence and intelligence, concocting a truly unsettling period piece in the supernatural horror The Witch. His experiences designing the look and feel of a variety of short films served him well in a feature-length format and he combined his obsessive attention to historical detail with a command over story and performance to produce one of the year’s most discussed and divisive films and one of my favorites.

Very loosely based on a real-life tragedy Eggers’ second feature film The Lighthouse is uncompromisingly strange but also a beautiful synthesis of technical elements, committed performance and mind-bending mystery. It is time we start having conversations about him being among the most distinct directors working today. Harkening to early sound pictures of the late ’20s and early ’30s the movie is shot in stark black-and-white and framed in a near-perfect square (1.19:1) aspect ratio and relies as much on its unique presentation style as it does some wicked narrative sleight of hand.

The story is written by the director and his brother Max. It’s a fairly simple conceit — a tale of possession and/or chronic cabin fever; of lonely men succumbing to their baser instincts before falling apart completely as much darker forces take hold. In playing with increasingly unreliable perspectives the screenplay spins out a web of unexpected complexity, a descent into psychosis that’s evoked by arguably career-best turns from Willem Dafoe and Robert Pattinson. They play adversarial lightkeepers running on dwindling supplies of alcohol and sanity when their four-week station on a remote island gets prolonged indefinitely after a bad storm hits.

Set in 1890 The Lighthouse is a period piece that slowly evolves into a fever dream that draws upon Herman Melville with pinches of H.P. Lovecraft. As such, the production is even more reliant upon visual technique and precision-tooled editing than Eggers’ previous throwback to primitive living. The camerawork becomes freakishly kaleidoscopic as time goes on. The visual language is arguably more important than the actual dialogue, which often comes across as prosaic babble delivered in foreign tongues — especially when the characters get epically liquored up.

The deeper we go the more Eggers seduces with his technical prowess, introducing more flash-cuts, more jarring juxtaposition and emphasizing the ornate, brass and wind-instrument-heavy sound design — both ominous and period-accurate — to encourage the vicarious feeling of losing your mind. That damn foghorn! Haunting hallucinations (or are they?) obscure what’s real from what’s imagined: Anatomically correct mermaids (Valeriia Karaman) and tentacled monsters derived from some depraved fantasy serve just as well as the basis of my own personal, ongoing nightmares.

While you could certainly write essays on the specific design of the movie, The Lighthouse owes no small thanks to the thunderous performances. Pattinson’s stock just keeps rising, here playing a young man with lots of buried secrets. Ephraim Winslow is a former lumberjack now learning the “wickie” trade who claims he’s attempting to make a fresh start. He’s sentenced to the most unpleasant, physically taxing duties in the daytime all while contending with some pesky seagulls who just won’t leave him be. Dafoe essays another iconic role in Thomas Wake, a cranky sailor with a penchant for cryptic messaging; an old fart who gets his jollies criticizing the young lad, barking orders and engaging in some weird behavior during his night shifts. He has, for example, an affinity for stripping naked at the top of the lighthouse, enrapt by something the light provides beyond warmth.

Though it is a rather bewildering journey, one that ends in an insanely dark place, the tension — at least, for the moments when Eggers and company might still have been sane — rides on some amusingly relatable dynamics. There’s a passage around the midway point that plays out like Animal House stuck in the 19th Century — aye, pre-plumbing, pre-electricity, pre-a-lot-of-damn-comfort. We all grit teeth at our roommates for their worst habits but because this is a Robert Eggers movie, everything is elevated to extremes.

As the weeks pass, initial tensions give way to a mutual respect for one another’s specific code of conduct. A night of drunken revelry suggests the two may have more in common than they previously thought. When an inevitable act of rage triggers a second storm, a tempest of fear, distrust and contempt to rival the whipping winds and salt-lathered waves threatening to sweep the men to the briny deep, it seems everything is conspiring against their best efforts to coexist. The actors play off each other with such ferocity, Dafoe and Pattinson seemingly intoxicated by one another’s manic energy and feeding off of unique and reportedly exhausting work conditions.

Crucial to Eggers’ brand of storytelling is setting and how he manipulates the natural to turn something entirely unnatural and yet chillingly authentic — not to mention uncomfortable, and not just for us in cushy recliner seats taking in some seriously disturbing imagery and deranged behavior. As The Lighthouse was filmed on location budgetary constraints weren’t really the issue but rather being able to endure what Mother Nature threw at the cast and crew. They not only endured, but used foul weather to further enhance the exhibition of suffering in the space of the movie. Over a month-long shoot a series of nor’easters blasted the small fishing community of Cape Forchu, Nova Scotia. For a particular scene Pattinson had to wade into the freezing sea more than 20 times as cinematographer Jarin Blaschke (who also shot The Witch) battled with lenses overcome with fog. Reminiscent of Alejandro Gonzalez Iñárritu’s The Revenant the actual misery bleeds into the fabric of the movie itself.

With The Lighthouse Eggers proves that his Puritanical nightmare was no flash in the pan. It also proves the then-33-year-old had room to improve. His sophomore feature is simply spectacular. How early is too early to label someone an auteur? Perhaps two films in to a directorial career is premature. It might be a good idea to hold off on that before seeing what he does with The Northman, a tale of revenge set in the 10th Century, involving Icelandic Vikings. I have to be completely honest though, I’m predisposed to loving what he does next and it’s barely in its pre-production stages. What makes me so excited is how this man clings to his vision like few filmmakers currently working. He creates experiences that are the epitome of what cinema is: getting lost while sitting in one place, stolen to somewhere else that’s both right in front of you and deep in your head.

Welp, honeymoon’s officially over

Recommendation: The movie to beat this year for me, The Lighthouse is an even greater achievement from rising talent Robert Eggers. The cumulative weirdness slowly frays the mind, morphing into something it wants to forget but won’t be able to. It was met with near-universal critical acclaim during the film festival circuit earlier this year, and deserves those plaudits. It’s an experience unlike anything you’ll have this or any other year. However I won’t hesitate to throw in the caveat that this old, creaky seafarer’s yarn is not for the mainstream crowd. Abandon all hope, ye who enter here seeking rational explanation.

Rated: R

Running Time: 109 mins.

Quoted: “Damn ye! Let Neptune strike ye dead Winslow! HAAARK!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

13 thoughts on “The Lighthouse

  1. Pingback: Jojo Rabbit | Thomas J

  2. Pingback: Month in Review: November ’19 | Thomas J

  3. I mentioned in my piece that this hearkened to Rod Serling’s The Twilight Zone but you’re more accurate with your 20’s and 30’s likening. I really appreciated this just for its simple “descent into madness” story. I guess I would have liked a little more clarity, but, sometimes people just go crazy, y’know? And it’s totally believable going so on the ass end of a damn rock.

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    • I didn’t need more clarity. I don’t need movies to spell out exactly what we are supposed to think. That’s why I loved The Lighthouse. It’s so bizarre and fascinating in that way.

      Liked by 1 person

  4. I was lucky enough to see The Witch WITH Eggers at a very small, early festival. And lucky again to see him at TIFF with The Lighthouse.
    The movie…astonished me. I saw it on my very first day, directly after I saw Parasite, so I felt like my world was completely on a different axis. I saw it on my own, at a press screening, and ended up having a drink with a complete stranger just to debrief about it. It was exhilarating to watch. Truly.

    Liked by 1 person

    • The Lighthouse really was something special. I think it helped that I went into it pretty much completely blind. Jojo Rabbit was actually a movie I had been anticipating more, but aren’t expectations nothing if not the things that fuck us? I liked it, but The Lighthouse. Oh boy.

      I really need to live your live. I need to get tickets to a major film festival so I can go to see things that are both crap and crazy good back-to-back. We must try to plan a TIFF sometime. I’d love to meet up with you, Sean and Matt. That’d be so much fun.

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  5. This is why I enjoy reading your reviews. I can truly understand your passion for this film. It’s very well composed. That’s really saying something too because, as you know, I was very lukewarm on this movie. I’ll take up for the cinematography but that’s where my adoration ends.

    Liked by 1 person

    • What of the performances though? I thought they were just incredible! Robert Pattinson’s stock just keeps rising for me. Willem Dafoe, a reliable commodity, might have turned in my favorite performance here.

      Liked by 1 person

  6. I can’t wait to get my hands on this film! I consider The VVitch to be one of this decade’s finest films and certainly the best horror, and I’ve heard nothing but great things about Robert Eggers’ sophomore effort. Jordan Peele delivered with Us, Ari Aster did the same with Midsommar, and now it seems Eggers might have outdone them both yet again the way he did with his debut feature. Fantastic review as always, Tom.

    Liked by 1 person

    • Thanks!

      I hope I haven’t over-sold it. I’m sure I have. It was just my kind of movie. It ticked every box. It was unusual, intense, disturbing, visually creative, terrifically performed — just the complete package. I have read reviews from others who are far less keen on it though, so. . .

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    • It’s the best movie I’ve seen this year. Up until this point, it was Ad Astra. This is on another level. I very much go for head-trips, movies that leave you deep in thought. Or even if it’s just a w-t-f kind of thought. Haha! Granted, I have not seen several of these others that all the cool kids have (Waves; Ford vs Ferrari; The Report; Marriage Story.) I’m really high on this movie though.

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