★★★★★

The Lighthouse (2019)

Written by Dalton Welsh - April 28, 2020

Exploring the escapades of two lighthouse keepers in the 19th Century attempting to maintain their sanity upon a remote island dwelling. “The Lighthouse” has quickly become a contemporary classic and deservedly so. Acting as writer and director Robert Eggers’ sophomore work “The Lighthouse” follows his 2015 directorial debut “The Witch”. We are seeing the beginnings of a true filmmaking master with an undeniably unique voice that can so powerfully be heard throughout the film.

One of the most important things a filmmaker is concerned with when creating and visualising the story and world of their film is the mood they hope to convey, and every facet of the production work so perfectly at creating an aura of foreboding dread.

The most distinct part of the film for many will be its visual style, displayed in a 1.19:1 aspect ratio, essentially square shaped, and shot on 30mm black and white film. Just by virtue of the screen occupying a different space it allows for some unique visual compositions that are mesmerizing to see, pair that with the crispness brought from the black and white and you have some truly stunning imagery. This also provides us with a true sense of the cold and unyieldingly barbaric environment the characters find themselves in, accompanied by production design that feels so engrossingly genuine and lived in. The true standout of the cinematography by Jarin Blaschke however would have to be the lighting, particularly the scenes at night whether they be lit by candlelight, moonlight or from the lighthouse itself it gives the scenes such a feeling of haunting beauty.

Ultimately, the core of the film is the dynamic of the two central characters, so the ability of the two leads to carry the film are of great importance, and Dafoe and Pattinson both give the performances of their careers. Pattinson conveys so much despite the fact that many of his scenes are without dialogue, displaying a true sense of despair and frustration. Alternatively Dafoe is given a great many dialogue heavy scenes, with long monologues, which are not only performed with such command and theatricality but the script itself, written by Eggers, is so expertly crafted and engaging to hear, bordering on Shakespearean in some instances. The limited number of cuts in many of the dialogue scenes making them all the more impressive.

As a result of the stellar performances by Dafoe and Pattinson you become so engrossed in the struggles of these lighthouse keepers, particularly as Pattinson’s character seeks to discover the mystery of what is held within the top of the lighthouse. This plot point also displays the multi-layered nature of the film baring strong reference to the tales of Prometheus with Dafoe’s characters withholding of the secrets of The Lighthouse and Pattinson’s attempts to understand and reach for it, much like Prometheus’ attempts to steal fire from the gods to give to man, which additionally gives the film the feeling of an ancient mythical tale.

The tale these characters find themselves in while the horror of it is certainly more psychological in nature, the points at which there are more visual based horror is just as if not more unnerving. These scenes in particular are further elevated by Mark Korvern’s score which feels almost like another character in the film constantly looming over the two leads with use of the Harmonium. Something of a music box, Korvern was able to combine components of many other instruments such as electric guitar strings, the wheels of a hurdy gurdy and everyday objects like using a metal ruler on the strings, essentially mixing and matching instruments and everyday objects to create the films sounds. Generating brash basses that mimic the horn of a ship, and distorted strings to fill the viewer with a sense of anxiety.

Finally all the aspects of the film are brought together by the editing of Louise Ford, no scene feels too long or too short and is arranged and cut in such a way that feels like the characters stream of consciousness, particularly in relation to Pattinson’s character, it feels so organic and free flowing. Then when all of this is brought to together, orchestrated with such an eye for detail and style by Robert Eggers we get a film that is not just an intriguing tale and character study told in a stylistically satisfying way, but a piece of art that feels like you have experienced something, making for what can appropriately be labelled a masterpiece.