The Lighthouse: 'Twas a Poor Night at the Local AA

I don't think I've seen faces this grim outside of my 8 o'clock classes the Monday after Spring Break, ah pleasant memories...

To start my informal week of film (mostly due to my own negligence) I started with watching Director Robert Eggers' new film The Lighthouse, a psychological suspense-thriller that entirely takes place at the titular location. It was a weird, eerie, and disquieting story from the same guy who made The VVitch, a film I have yet to get to get to, and I really, really liked it. It's definitely something of an experimental film, but one that very much feels like a blast from the past that handles some modern and not-so-modern themes in an unflinching, unblinking way.

This is (mostly) a pretty grounded-seeming film, but DaFoe can definitely pull off a vengeful ghost with nothing but the thunderous fury of his voice and facial expressions.

In terms of plot details, there's not a helluva lot to discuss in regards to The Lighthouse, as there isn't really so much of a story as there is a steady downhill progression as both the younger and older wicks deteriorate. The film opens with two wicks (lighthouse keepers), one a grizzled veteran and the other an apprentice under the former's supervision arriving for their four-week stint at a remote lighthouse. From the get-go, things aren't exactly hunky-dory as the veteran seems more content to have the apprentice do all the work as he sleeps during the day and pleasures himself in the lighthouse while staring into the light at night (something tells me that's not good for the eyes). Even when he's fulfilling his given role as a mentor, the veteran is just as profoundly unhelpful, with each and every one of his "pointers" being some variation of "You did that technically wrong, but I didn't feel like interrupting, so undo everything you just did and do it right, or else I'll deduct your pay". Fun guy, and very selective with the rules to boot. See, drink isn't allowed on the isle, it could get the wicks into trouble (even the apprentice knows that), but guess what the veteran's stance on it is? Everything's already going not-great when the apprentice has a small loss of composure and kills an annoying seagull in a fit of rage, thus bringing untold bad luck upon him if the veteran's superstitions are to be believed. It was at this point when I realized it, this is essentially an abridged film version of the killing of an albatross from The Rime of the Ancient Mariner. There's more to the film than simply a cautionary tale of why not to kill a seabird, there's also a running theme of the consequences of romantic/sexual isolation. Soon after arriving, the apprentice finds a mermaid figurine lovingly carved from ivory. Over the course of the film, the apprentice begins to 'crack' and begins to fantasize more and more about mermaids, which seemingly begin to enter his waking world. It was interesting how these scenes were depicted, as opposed to blissful escapism these sexual fantasies seemed straight out of the realm of nightmare, with 'real' mermaids being shown in disturbing detail and teasing the apprentice with scorn and derision, which goes without saying is probably up there on the list of great sexual anxieties.

DaFoe's unpredictable mood swings and habit of gaslighting are one of the more scary parts of this film. Truly a nightmare of a supervisor to work for. 

All that aside, The Lighthouse does also have something to do with alcoholism, the struggle of recovering alcoholics in a society that encourages its use, and the consequences of relapse. Alcohol is discussed and referred to a notable number of times in this film. At the start of the film the apprentice steadfastly refuses to drink, citing not only the rules but alluding to other reasons, which could be an indication of him being a recovering alcoholic. He's shown to be restless and in a perennially poor mood, easily frustrated and distracted, which is a common symptom of withdrawal. When he does start joining in with the veteran (who refers to booze as an essential to life at sea), the apprentice undergoes a drastic change, becoming more companionate and friendly to the veteran, but also immediately starting a pattern of getting drunk as a lord nightly, showing that he definitely has a history with drink. The final piece of the puzzle comes when the periodic supply-run from the mainland is late, leaving veteran and apprentice low on supplies with a Nor'easter bearing down on them. The veteran reveals that there's a stash of emergency provisions on the island, so they dig it up...and it's just an assortment of different liquors, fantastic. After this time seems to have no meaning as the two engage in a seemingly endless montage of drinking, losing what little self-control the two have left. Without saying, this is a representation the utter loss of control that many relapsed addicts (not just alcoholics) experience initially after failing to shake their urges, and as we see at the end of the film, this can have dire consequences. On its surface, The Lighthouse would seem to be a film that would struggle to sell a thematically complex story due to its apparent lack of structure, but as I don't think I've even begun to scratch the surface of the myriad themes, motifs, and ideas on display through this film. You could probably watch it several different times and get a different read each time, another indication of the strength of the film's narrative.

The storm can rage, but at least they have their drink...and each other's dubiously good company.

The phrase "Firing on all cylinders" is especially fitting in regards of The Lighthouse's presentation, as it strikes an excellent blend of novel with utmost quality. At a glance, it's a very old-fashioned film, presented in black and white with a constant square aspect ratio, which makes the film look like something out of the fifties or forties. There's also great creature makeup and construction here, with tentacles and mermaids created with the utmost detail, so makeup artists will have a definite treat here. The costume and set design is remarkable, and outside of the understanding as you're watching this film that you're doing so, everything appears as you would expect a lighthouse and wicks to look, no more, no less. It's a rugged, weather-worn, and gloomy place, without any apparent embellishment. The editing is the biggest driver of the progressive feeling of deterioration in the film, giving the audience short glimpses into the psyche of the apprentice and the passage of time on the barren rock. While there are a lot of snappy shots in this film, there's also a number of longer shots that allow the audience to fully process and ponder what they're seeing, and these are some of the more important scenes in the film, both in terms of plot relevance and thematically. The acting of Willem DeFoe and Robert Pattinson, both actors who I always heard were good actors, but never saw them in a "high-art" film, are amazing and terrifying here. In a nutshell, though there's an amazing story to experience by watching The Lighthouse, there's also what I would call a perfect execution to witness here as well, and I don't put that lightly.

I can't state enough how much I enjoyed the blend of old and new cinematic techniques in this film. You would for sure not see something that looks this good in the forties.

The Lighthouse is without a doubt probably the best film I've seen this year, maybe the last two years. It's a wonderful film that's both rich in story and themes in addition to being a showpiece of the wonder that genuinely good filmmaking can do with only a modest budget. I'd honestly recommend it to anybody, as it could fit into any number of genres depending on your mood. It's not a film however to let the kids watch, as there's quite a bit that's shown and very much implied, and even though there's no outright scary imagery, the film is definitely particularly frightening. It may not be the most comfortable watch, but on the other hand it's a good way to learn some new sea shanties and authentic New England(?) accents.