I’m usually a bit jittery about movies that bring a lot of anticipation bolstering their US premiere because the more the promotion, the less likely it’s warrant to deliver on its premise or be watchable past opening night. Fortunately, this wasn’t the case with Robert Eggers’ The Lighthouse. Knowing next to nothing other than its bare-bones synopsis of two men stranded on a remote location tending to a lighthouse, I walked in, and let his story unfold.
The Lighthouse stars Willem Dafoe and Robert Pattinson, two actors who have been involved in back to back projects that have only managed to cement their status as two of the best working actors in cinema today. Both star as a pair of lighthouse keepers who must take care of the building for a total of five weeks. It’s a task that sounds simple enough — do your duties, rinse and repeat — but soon enough, isolation starts to sink in, and the need for the men, who already don’t like each other, to relate to something human while asserting their own presence starts to play mind games… or does it? Pattinson’s character one night walks out into the dark open to see what looks like a mermaid swimming in the waters beyond. DaFoe stands in front of the huge beaming light of the lighthouse in complete ecstasy, but what is that tentacle quickly seen and that disappears? A sea gull turns out to be more menacing than just bothersome.
Could the night and the fog and the lighthouse itself hold some dark secret?
Robert Eggers never reveals what, in fact, might be the ghost that haunts the grounds where the fabled lighthouse stands, and that is perfect for me. Exposition and backstory are kept to a minimum, only enhancing the entire movie’s mystery and whatever it is that haunts the twosome. All we get is that the previous lighthouse keeper went insane and killed himself. Pattinson’s character longs for some peace and quiet far into the Canadian country and thought this could be a next step into achieving the goal. DaFoe has been chained to the island and the sea for 13 years, a thing that took a toll on his marriage. Meanwhile, in the present, the men go through their daily chores, making irritating small talk (well, technically, DaFoe is the one who talks the most while Pattinson, who starts out as silent as a moonless night, let’s him take center stage), engaging in petty banter over who does what.
The more they engage in the mundane, the farther away they creep from reality. Soon, even a simple dinner sequence becomes a nightmare of repetition in hell with two men aching companionship devolving from mates to enemies to back in a furious kaleidoscopic whirlwind. Eggers movie becomes a ferocious battle of wills to see who will remain the last madman standing, all the while the looming, sinister figure of this lighthouse, the all-knowing sentient spirit, observes without pity or passion.
This is the most cinematically gorgeous movie I have seen this entire year — or this decade, as a matter of fact. It is rare to see black and white, treated with such care that even seeing it at a two-dimensional ratio one can almost see depth in the style of deep focus, and have that morph seamlessly into German Expressionism, only to do a fade out like David Lynch’s Eraserhead towards the ambiguous end. Eggers’ movie seems as though it came out of the lens of someone living and making movies 100 years ago: it is dense, exotic to a letter, alien, mythical, and yes, haunted. Two actors helm the entire production and carry it to next-level narration, something strange and sinister, with fart-jokes and base-level humor to pepper it through as if reminding you these are two uncouth men sharing tight quarters together while the endless storm rages on and they lose their minds. I firmly believe this will a film that will be studied well past tomorrow, and a template for future directors wanting to get behind a camera to make a story come alive.
Unless anything comes along the road that can surpass this movie, I will call The Lighthouse the movie of 2019. Done.