The Lighthouse (2019), directed and produced by Robert Eggers (The Witch), is a gothic psychological horror film. Robert also had the aid of his brother, Max, who co-wrote the screenplay together. Jarin Blaschke was the lead cinematographer and worked closely with Eggers in deciding the stylistic choices of shooting the film. Eggers is best known for his signature uses of expressive and natural lighting, preferring a small acting cast, using a singular setting, employing a slow-burn tension, and including mythical or superstitious motifs.
The Lighthouse is set on an isolated island off of the coast of New England and dated around the late 19th century. The new wickie, Ephraim Winslow is contracted to work under the boot and heel of the life-long lighthouse keeper, Thomas Wake. The relationship between these two men escalates as the perils and plights caused by the raging Atlantic Ocean descends madness amongst the two protagonists.
Eggers' and Blaschke's choice to shoot with orthochromatic 35mm film, and using the 1.19:1 aspect ratio, delivered a unique, and rather archaic aesthetic to the film. By reducing all colours to a different shade of the same colour, the objects in the background appear less prominent, and the subject in the foreground is centralized. Monochrome also achieves a striking contrast between the pale grey shades of skin to the obsidian black shades of the clothes, resulting in even more focus on the subject's face and every nuanced expression. The monochrome heightens the creeping madness seen in the ECU shots of Winslow's facial expressions.
The 1.19:1 aspect ratio also was an interesting choice for the dimension of the film. During the dinner scenes at the table between Winslow and Wake, the 1.19:1 aspect ratio eliminates the empty space on the sides of the frame, and centers the table symmetrically. This could potentially allude to the disparity between Winslow and Wake, be it their age, work ethic, superstitious beliefs, sanity, or fates? Foreshadowing perhaps? The tightness of the shots and intense ECU's also compliments the claustrophobic living quarters in the lighthouse.
Blaschke utilised a multitude of shots and angles including extreme wide shots for outside to capture the vast expanse of the landscape to show isolation. The low-angle shot when Wake vehemently curses Winslow to create the impression of the power of Wake and the helplessness of Winslow. The birds-eye shot of the intoxicated Wake and Winslow; when they are mixing turpentine and honey, creates the impression of declination (of their inhibitions) and descension (into madness). Blaschke's ECU shots however demonstrate the greatest efficacy in capturing the lunacy in the facial expressions of both Wake and Winslow. The ECUs are intimately close to Wake and Winslow's deranged faces, which results in an unsettling image and an engaging moment.
Themes, motifs, and symbols are visual elements in films that hold greater literal meaning than their arbitrary hosts. For example, the mermaid scrimshaw that Winslow found in his bed could represent sexual fantasy and masturbation, which are two themes heavily touched on in the film. Winslow falls victim to his sexual vices as he masturbates over the scrimshaw and the proceeds to rape a mermaid who had been dragged onto the beach by the sea.
The phallic symbolism of the lighthouse itself demonstrates that there is a whisper of metacommentary on androeroticism and androcentrism, especially with the violent yet intimate physical relationship between Wake and Winslow. The turbulent waves and the raging storms also evoke pathetic fallacy, in that they are representational of the internal chaos that Wake and Winslow are suffering. The theme of man against nature, and man against superstition are also recurring themes.
There are many motifs denoting myth and superstition including the mermaid scrimshaw, the mermaid, the killing of the sea birds, and the mythical archetypes that Wake and Winslow subtly portray in the film. Prometheus (the 'forethinker'), the son of Iapetus, was a Titan in Greek mythology. Prometheus was best known for his act of hubris by stealing fire from Zeus and giving it to mortal men. Winslow also commits the crime of hubris by killing the sea bird, possibly angering Poseidon (or a lesser sea deity like Triton or Proteus), which subsequently causes the tempestuous sea to strand them on the island alone.
Just as Prometheus is punished by Zeus by having his liver torn out by an eagle everyday, we see sea birds pecking at Winslow's gashed belly as he meets his untimely demise. The allure and mystery of the lantern in the lighthouse has a striking similarity to the divine fire that Prometheus steals from Zeus, both are sought-after and revered highly. Poseidon is the "God of the sea, earthquakes, storms, and horses, and is considered one of the most bad-tempered, moody, and greedy Olympian gods. He was known to be vengeful when insulted". Wake is quick to anger, he greedily hoards the sensation of the lantern to himself, and also vengefully curses Winslow when he feels insulted.
In my personal opinion, I found The Lighthouse captivating and mysterious, rather than intense or horrific like other folk horror films. The slow-burn tension, via the gradual acclimation of peril and madness, payed off in the latter half of the film with a cathartic climax (nonetheless no denouement). The lone lighthouse on an isolated island was the perfect analogy for the creeping madness that would take over the inhibitions of Wake and Winslow.
The themes, motifs, and symbols supplemented an extra dimension to the film and imbued the film with depth and complexity. The performances by Willem Defoe and Robert Pattinson were believable, enthralling, and insightful. The cinematography was captivating and offered new angles and perspectives which complimented the tone and mood of the film. I found this film to be thoroughly enigmatic and intriguing, and I will continue to follow Eggers' future endeavors in film.
By Lucas Barker, BComm Minor in Media Studies, and an avid cinephile. 9/08/21
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