Premise: The hypnotic and hallucinatory tale of two lighthouse keepers on a remote and mysterious New England island in the 1890s.
“I knew ye was mad when ye smashed that lifeboat and chased me with that axe” Willem Dafoe’s Thomas Wake bellows to Robert Pattinson’s Ephraim Winslow (or is it Thomas Howard?) late in The Lighthouse, the newest from director Robert Eggers, after his breakout success of The Witch. The question, on its face, isn’t all that significant. What makes it stand out – and emblematic of the entire film – is that, just minutes earlier, we see the exact opposite happening with Dafoe madly chasing Pattinson. Is Dafoe messing with Pattinson? Was it a drunken hallucination? Is Dafoe the crazy one, or is Pattinson (or both)? Throughout The Lighthouse, Eggers has the audience constantly question what he just showed us, as his characters descend deeper and deeper into madness.
When The Witch debuted in 2015, praise was rightfully heaped on Robert Eggers for his thorough commitment to realism. Each detail felt lived in and authentic, from the dialogue to the sets that were built. For The Lighthouse, Eggers continues to raise his game – the crew even built a life-size lighthouse off the coast of Nova Scotia. Not only do both actors talk like they were plucked from the shores of New England at the turn of the century, but the minimalism of the island truly helps to feed the madness as it sets in. Shot by Jarin Blaschke on black and white film and given an almost square aspect ratio to evoke a more claustrophobic mood, The Lighthouse looks unlike any other movie you’ll see this year. Eggers and Blaschke take full advantage of the lack of running electricity to create some fantastically memorable images. Many scenes are only lit by a single light source, and the resulting shadows on Willem Dafoe’s face almost gives him an inhuman appearance. Pattinson at one point makes his way up the lighthouse stairs, where the lens is only visible through a metal grate. Eggers holds the camera on his face as he’s mesmerized by the glow, as patterns of light and darkness constantly dance across his face. He wants to be in the light, but just can’t break through.
The Lighthouse is a film where we can essentially guess the outcome from the beginning, but the process that Eggers takes to get there is full of fun and madness nonetheless. The story is mostly told from Pattinson’s perspective, so we see all of Winslow’s hallucinations and fantasies, though we’re never totally on his side. Is he justified in his accusations, or is he just a paranoid drunk? The cast list is literally three actors long: Dafoe, Pattinson, and Valeriia Karaman, who plays a mermaid, so there is no outside perspective to make any distinction between who is right and wrong. Of course, Pattinson and Dafoe give incredibly layered performances, one seeming to one-up and out-crazy the other. Both characters feel like real people with real grievances though; in lesser hands they could have easily slipped into caricature. And Eggers gives each actor plenty of meat to chew: Pattinson has a great scene where he drunkenly airs his criticisms, and Dafoe gives a terrifying yet exaggerated response.