 Robert Eggers, USA, 1 hour 50 minutes A Psychological Horror filled with Tinnitus-Inspired Sound Design, Sexually Alluring Mythical Creatures and Williem Dafoe’s Uncensored and Unadulterated Farts. If that isn’t a possible recipe for perfection, I don't know what is… But, it does require a second viewing to fully grasp all that it has to offer! Robert Eggers, a New England fanatic is back at it again, doing what he knows best. Sticking to the same genre and place as his last hit, ‘The Witch’. Within the first five minutes, it’s clear what is different to its predecessor. It’s a black and white film done in an aspect ratio of 1.19:1 - giving it that aged feeling, which is different for sure but a difference most welcomed. According to Jarin Blaschke, the custom monochromatic filter they used was designed to reveal the many blemishes within the skin.[1] I think this choice really works, giving it that gritty and weathered feel to themselves and the environment throughout the film. Although, at face value the idea of a black and white film puts people off. Which isn’t fair, but that’s the reality of it. Initially the idea came from the story of Small’s lighthouse near Wales: Two lighthouse keepers, both named Thomas, one older and one younger, a storm comes and they become stranded. Robert found that having these two people with the same name in a confined space would prove to blur identity - making it become strange. Now, initially the main character gives the lighthouse keeper a fake name to prevent him from knowing his true identity. Maybe I missed it, but I feel as if we should have been given some form of notification of his true identity earlier on, so we know he’s lying - it could have even been subtle. Either way, this first name helps us differentiate between both, but I do feel there was a lost opportunity there. The highlight of the film is most definitely Willem Dafoe’s performance as Thomas Wake. An old Sea Salt with a strong connection to his lighthouse, a connection that Patterson’s Thomas envies and is curious over. This obsession over this large phallic building becomes the very centre of this movie. Giving us very confusing scenes at the start but then eventually unpacking it - although not entirely - towards the end. Willem’s accent becomes almost immediately awe provoking. Although hard to understand, his idea stemmed from Sarah-Orne-Jewett, who interviewed aged sea captains who used this dialect.[2] It’s difficult to understand, so in a way it is a negative point, you need your listeners to understand in order for them to enjoy it. It’s a major risk and all in all i feel sorry for those who can’t understand but, it is a great touch and it didn’t affect me that much, but you have to take these things into account. If you do understand, you are in for a treat. This film is littered with beautifully crafted monologues coming from Older Thomas, all of them hit the spot. Their choice in art direction really compliments Willem’s performance here, placing the light in spots that make him appear almost celestial, in charge rather. Just make sure you’re fine with the sound of farts because you’ll hear them constantly - this is done mainly to show dominance over young Thomas, which is a perfect vulgar touch. Furthermore, the atmosphere is great in this film, you can almost taste the sea spray as you watch it. This all comes down to the great cinematographer Jarin Blaschke, who in this case won two awards for this film. Alongside Damien Volpe's great sound design, making the film feel much like a pressure cooker.[3] Although, some may be put off with it reminding them of the tinnitus they are so desperately trying to ignore. This is because they use a foghorn as a form of tedious repetition, giving us a headache on purpose. Personally, I love this, and it definitely adds to the experience in the form of creating a connection between us and those living amongst it. The tale is structured quite well, splitting off into four different sections: Burn | Sin | Descent | Madness. It all comes down to that initial sin committed by the younger Thomas, it’s quite an eye striking scene and is heavily symbolic. Although, I do love the symbolism that this film has with its seagulls and how it allegorises the lighthouse… I do feel as if you won’t get it straight away, other than what the lighthouse represents since it’s very on the nose. That is why I feel to fully enjoy and understand the film with all its allegorical meanings, you must give it a second watch. This is due to the dialogue being difficult to understand at times and everything not really hitting you completely. Now the way the descent into madness is handled, I personally think is done well. From simple dinners on stormy nights to hard work on the island. A mystery about older Thomas’ first companion that slowly gets unfolded and the stunning psychedelic visions of nineteenth century, nautical folklore creatures. Ultimately ending with an open yet closed finish that keeps you thinking. All in all, it’s a great addition to Robert Egger’s holster of great films. I give the Lighthouse a powerful eight out of ten - verging upon a nine. I would have given it that nine if it did not require that second viewing to gather everything but don’t let that discourage you, this film is truly a beauty, albeit full of farts. - Jarod Vass Bibliography: Evening Standard. 2020. The Lighthouse Review: A Dark Tale Of Men, Madness And Twisted Fantasies. [online] Available at: <https://www.standard.co.uk/go/london/film/the-lighthouse-review-robert-pattinson-a4349831.html> [Accessed 20 April 2020]. Jewett, S., 1884. The Mate Of The Daylight And Friends Ashore. Forgotten Books. Penevant, 2020. The Lighthouse - A Dark & Stormy Tale. [video] Available at: <https://www.youtube.com/watch?v=F-Dusv4FHFU> [Accessed 19 April 2020]. [1] (Penevant, 2020) [2] (Jewett, 1884) [3] (The Lighthouse review: A dark tale of men, madness and twisted fantasies, 2020)   the heart and soul of horror review websites |
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