The Lighthouse Review

Score: 10/10

Directed by: Robert Eggers

Written by: Robert Eggers, Max Eggers

Starring: Robert Pattinson, Willem Dafoe, Valeriia Karaman

---

---

Robert Eggers’ feature debut, The Witch, was an unexpected hit when it released back in 2015. Decidedly more disturbing than it was scary, the film saw a 17th century New England family, cast out of civilisation and living on the edge of a vast forest. This tale of witchcraft and possession serves as a metaphor for man’s fear of places, ancient, dark and wild.

The Lighthouse is The Witch’s spiritual successor. Only this time, Eggers swaps out the grand scenic breadth of New England’s forests to focus on this distinctly more suffocating and claustrophobic setting: an isolated and mysterious lighthouse somewhere off the coast of New England. Taking obvious inspiration from the literary works of Herman Melville and Robert Louis Stevenson, loosely based on a real-life incident (The Smalls Lighthouse Tragedy in 1801) and shot in black & white, Eggers explores isolation and insanity, with a Lovecraftian cosmic-horror twist.

Two lighthouse keepers – old sea dog, Thomas Wake (Willem Dafoe), and newcomer Ephraim Winslow (Robert Pattinson) – find themselves beset by crashing waves, lashing rain and aggressive seagulls as they become stranded on a mysterious, fog-shrouded island. And as the boredom sets in and the alcohol take hold, the pair find their identities eroding away, as they begin a slow descent into madness.

It can’t be overstated enough just how significant an actor’s performance is for such an intense study of character. And when paired with its more fantastical elements and imposing purpose-built, on-location set, this must have been an intimidating prospect. Even for actors of Dafoe’s and Pattinson’s calibre. Both actors throw the entirety of themselves into their respective roles, however. With Dafoe learning the jargon used by Atlantic fisherman and sailors of the time, and Pattinson mastering a Maine farming dialect. The result is two performances which are the very definition of outstanding. There’s simply nothing quite like it, and both radiate in their historically naturalistic tone and simmering intensity.

Thematically, The Lighthouse takes influence from a plethora of weird and wonderful places. The literary classics of Herman Melville, Robert Louis Stevenson and the seafaring mythology that inspired the novels themselves are a couple of the more prominent sources of inspiration. But Egger’s also takes inspiration from sources less obvious, leaning heavily into Greek mythology. Indeed, the similarities between the Grecian characters Proteus – represented by Dafoe’s Thomas Wake – and Prometheus – represented by Pattinson’s Ephraim Winslow – are striking and fantastically realised. But there’s also an element of cosmic horror here, taken straight from the works of H.P. Lovecraft, displayed in all its bright-shining, psychologically damning, tentacular glory.

Of course, the first thing that’s likely to grab your attention with The Lighthouse is the equally striking visuals. Jarin Blaschke (DoP) composes the film in Black & White using 35mm negative film and at an aspect ratio of 4:3, which is basically square. This creates an instant feeling of creeping dread and uncomfortable closeness. Which later evolves into sheer mind-bending terror and severe claustrophobia. The 4:3 aspect ratio may broadly be considered a cinematic faux pas these days, but there’s no denying that, here at least, it’s devastatingly effective. Imparting to the film a gritty and textured feel. Further to this is Mark Korven’s superbly atmospheric and equally imposing score - which resonates throughout the movie, subtly instilling the viewer with voices of madness and despair.

In short, The Lighthouse is a modern masterpiece of psychological horror. A practically perfect movie made with a contemporary attitude but in the visual style of a James Whale classic. It’s not an easy watch, and to say it’s intense is an understatement. There were times I wished the film would end—I mean that as a compliment. There’s simply nothing else quite like it around these days, and the film’s all the more special for it. Robert Eggers is fast establishing himself as one of the finest horror writer/directors currently working, and I look forward to seeing what else he has to offer.

---