The Lighthouse

So many have commented already, I'll keep it short. I remember when I saw "Taxi Driver." I was amazed at DeNiro's performance, the incredible visuals, and the wonderful direction. We watched a man fall into a darkness that none of us could possibly survive. But what i remember to this day is being dragged through the world the film presents. There is a line where it is thought that one should take a part of the city and pour concrete over it, destroying the sickness and covering it forever. As I watched the really amazing, frenetic performances in this film, I had some of the same feelings. I reached a point where I wanted cleanliness and daylight. The cruelty from the beginning that never dissipates is all once can hold. It's about human destruction in a claustrophobic world, a living hell.

Both characters have few if any redeeming qualities, which makes this mind twisting movie difficult to get behind. The cinematography was good, the acting was on point, the writing was quotable but I wanted in to be over half way through. I'm still confused as to what the point was, other than to convey discomfort.

For much of The Lighthouse, I was not wholly sure what was going on, which I guess is deliberate as it is never quite clear what is what. What is consistent though is the sense of dread and claustrophobia that comes from the limits of the location and the fear of this unknown threat - whatever it may be. This is not quite good enough to carry the film for its full 110 minutes, because it is a bit too long, but it is enough to grab the viewer and more or less keep them there until the end - more or less.

The narrative isn't much to talk about, but the tone and tension is what works - if it works for you. The manner of delivery of this is an oppressive approach, making the viewer feel uncomfortable and not giving space to get away from it. I thought this aspect of it was done well in many different ways. The selection of the ratio, keeping the shot tight no matter what shot it was; the noise of the sea and sight of the waves; but even the dialogue - which was distracting in some ways but effective in others. The fruity accents and gruff delivery makes it hard to catch every word, but it did cause me to lean in. The performances come with an intensity and realism that sells the film even when so much of it is hard to accept on the face of it.

I do think that for a lot of viewers it will be a reasonable reaction to be put off the film - mainly because feeling uncomfortable for several hours is not an easy experience to sell. For myself I felt a bit of that - at the end that I more appreciated what it did well and how it did it than I actually 'enjoyed' the film as a film. One of those where I'm glad I watched it but am really unlikely to ever watch it again.

This is precisely the type of film that will garner equal amounts of unbridled praise by the arthouse diehards, as well as criticism (and likely rejection) from a lot of other viewers. My opinion lies somewhere in the middle. I give it 6 stars for the undeniably outstanding acting (obviously, Dafoe)... and Pattinson is very impressive. Something new, yes. Effective at mood-setting, check. The b&w filming, the shots, the scenery itself... even the set, the old dilapidated coastal shack, all excellent. The dynamic between the two characters is raw and real. Is it a thought-provoking free-fall into insanity? Maybe. But... there is a such a fine line between "arthouse", trying something different, leaving much up to subjectivity and imagination, and... just trying a bit too hard. Mermaid labia? Hmmm. But, if part of the definition of a cinematic "success" is evoking emotion, then mission accomplished. Total despair, pity, fear, disgust, and a general feeling of creepery, all there.

Robert Eggers' second (?) feature is a superb piece of mind-bending cinema. There are parallels with his earlier film, The Witch, elements of psychological horror which Eggers clearly finds interesting and hopefully hasn't finished exploring just yet. The decision to film in black and white is a stroke of genius. Every scene is filled with ominous portent and obscuring shadows. The film plays with our perceptions and moods throughout. There are moments of comedy amongst the gloom, the two men stranded on the rock endure a tumultuous relationship, by turns suspicious, angry and even savage, then there are unexpected moments of comradeship fuelled by alcohol. We are forced to question constantly who is mad, or perhaps madder? Are they in the grip of a storm, or are they in Hell? And the soundtrack! No one I can think of uses sound to create atmosphere quite like Eggers. Foghorns, the relentlessly howling wind, the seagulls; is it any wonder if they were as mad as a box of frogs? Willem Dafoe is absolutely fantastic in The Lighthouse. He really should be considered for an Oscar for his turn as the saltiest of old seadogs, spouting rage-filled Melville-esque invective straight from Davey Jones' locker, at sporadic intervals. I don't think there are many actors who could've pulled off that performance with such aplomb. He chews the scenery mercilessly, but it is exactly what the role requires; his Thomas Wake is a force of nature in human form. The Lighthouse won't be to everyone's taste, and it would be a mistake to view it as a moody twin sister of The Witch (which was a genuine horror); but I found it to be mesmerising and intriguing, and a fabulously well-crafted psychological drama with trimmings of horror.