In Theaters Now: The Lighthouse (2019)

In Theaters Now entries give insight on films currently in theaters. There is a brief review, followed by a deeper dive with SPOILERS behind the cut.

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Teeny Poster

To paraphrase someone paraphrasing Freud, sometimes a cigar is just a cigar… unless it’s an 80 foot phallus symbolizing man’s hubristic attempt to navigate the tempestuous deeps of the sea and therefore also the human subconscious.

Let’s dive in!

The Lighthouse (2019) is a historical thriller/horror film by the writer/director team of Robert and Max Eggers, fresh off their success of 2016’s jolly lighthearted romp, The VVitch. If you haven’t seen The VVItch please know I just made a joke and with the exception of Black Phillip, it is neither lighthearted nor jolly. The Eggerses have already cemented their reputation as masters of subverting horror tropes with The VVitch, and The Lighthouse delivers more of the same, yet different. Magnificent costumes, an eerie score, and some soon-to-be legendary performances all combine to make an instant classic.

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“More o’ the same, says ye?” 

From the very opening scene, the film establishes itself with an aspect ratio of 1:19.1, which means the image is square. Filmed with a variety of cameras and lenses, including 35mm and some antique equipment dating back to 1918, the resultant effect is distinctive. There was even a little sign on the way into the theater stating, more or less, ‘Yes it is supposed to be that way please don’t tell us there’s something wrong with it.’ Between the peculiar aspect ratio, the black and white photography, stark compositions, and claustrophobic but vivid angles, it feels almost as if you’re watching some brilliant throwback from the dawn of cinema, the age where so many cinematic horror traditions were founded. Another reason I was reminded of that age was Pattinson’s performance, as his wide eyes and shaggy hair reminded me of Conrad Veidt in the immortal Cabinet of Dr. Caligari.

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Fun fact: Cesar the Sleepwalker’s resemblance to Edward Scissorhands started me on my journey to being a film critic. 

The story is fairly straightforward: Ephraim Winslow (Robert Pattinson, sporting a more than passing 19th century Maine accent) has found work for the United States Lighthouse Service and is being dropped off to join Tom Wake (Willem Dafoe, genetically engineered to play this role; if he doesn’t go full Hemingway in the next 10 years we will have failed as a civilization).

The Lighthouse stands on a godforsaken, storm-washed rock infested with stroppy seabirds. The remote environment has already claimed one life, as Winslow is replacing a young man who went mad, claiming mermaids were singing to him. From the moment he arrives, Wake rides Winslow to get to work, quickly establishing a nautically flavored pecking order. Winslow is soon given almost more work than he can humanly do, and resentment blooms between the two men. The sonorous blast of a foghorn, noticeable early on and which should be jarring, inures itself and becomes no more remarkable than gulls crying or waves crashing. Wake gives Winslow task after task and insists they be done to his exacting standard, but the one thing Winslow is forbidden from servicing is The Light.

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Seriously, this movie still looks like a photo from that time period. SO PERFECTLY DONE. 

As the story winds out, it challenges the audience to read between the obvious threads: Is Wake real? Is Winslow? What really happened to the previous employee? How much of Wake’s Old Salt routine is an act, if any? What the hell is up between him and The Light?

Although Winslow manages the punishing routine well enough during his month-long assignment, a bad storm strands him on the island and he, already starting to unravel, comes straight off the spool. But anyone who’s watched the trailer knows that; the real treat is seeing it happen, how, and why. Viewers quickly realize that mysteries abound within Winslow, too.

Fans of H.P. Lovecraft, Algernon Blackwood, Arthur Machen, and the other voices of early 20th century Weird fiction will find plenty to love, as well as the dialogue, which was inspired by both Shakespeare and Herman Mellville. I will say that when the film comes out for home release I will appreciate the subtitles, as I sometimes couldn’t understand the dialogue and certainly missed crucial plot info. Fans of season 1 of The Terror, would also greatly appreciate the film and its depiction of 19th century nautical life.

And now… To the Spoilers!

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Early to the Theater – Film Stars Don’t Die In Liverpool Review

Recently Jen and Achariya have been fortunate enough to review films prior to wide release. We’re very excited about today’s entry, a screener that Jen received from Sony Pictures Classics. As always, the basic, spoiler-free review will appear above the cut, and more in-depth analysis below. And as always, Jen was not paid or compensated for this review in any way. 

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Based on a memoir of the same name, Film Stars Don’t Die in Liverpool is a powerful, layered romance that is honestly quite difficult to sum up at a glance. Fading American film star Gloria Graham, weakened by illness, is looked after in her last few months by her former lover, a man thirty years younger, and his working-class Liverpool family in 1981. Through a series of flashbacks the audience discovers what brought the unlikely pair together and what ultimately tore them apart. I haven’t read the book so I’ve no idea how much it differs, if at all, from the film.

Annette Benning plays Graham in a knock-out performance. She has already been nominated for several critics’ awards and it wouldn’t surprise me to see her nominated for an Oscar, although the fact she’s not nominated for a Golden Globe seemed a crime. With masterful subtlety, Benning reveals Graham in layers as the story unfolds; she presents a breathy voiced and starry eyed ingenue to her public and the outside world, which is of course why Peter Turner, played by Jamie Bell, falls in love with her;  when stressed she becomes shrill and manic at times, such as when Turner mentions her age or crosses any of the invisible lines she’s drawn for him; and lastly, reserved and fragile when she finally accepts that her prognosis is terminal and weighing heavily on her loved ones.

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I may be biased, because their first date is to see ALIEN. 

Although the May-December relationship premise of an older female film star and a young male lover is familiar, it would be disingenuous to compare this film to say, Sunset Boulevard. Obviously the relationship here was based on true events, and the story elements are so novel that they feel fresh. Before I realized it was a biography, I found myself wondering precisely that, since truth is stranger than fiction and the characters and settings felt so weirdly solid. Kenneth Cranham plays Peter’s father, delightful in sweater vests and owlish glasses.  Julie Walters (best known as the Weasley matriarch from the Harry Potter movies) puts in an amazing performance as Peter’s mother Bella, who helps him look after Gloria when the latter becomes bedridden. Vanessa Redgrave shines in a small but riveting role as Gloria’s mother.

As as aside before we get to the spoilers – I’m hoping the great Hollywood purge of sexist shitbags occurring right now will make room for more filmmakers and films like this one. In an early scene where Graham is warming up for her performance by blowing air through her lips, the camera lingers in close-up on her mouth every wrinkle and line is on display. It was a bold creative choice, the sort that wouldn’t have a place in a film-making atmosphere dominated by toxic masculinity. Film Stars Don’t Die in Liverpool was directed by Paul McGuigan (who among other TV hits directed 2 episodes of Luke Cage!) and was produced by the legendary Barbara Broccoli.

Film Stars Don’t Die in Liverpool had a limited US release last year and seems to mostly be playing the film festivals. I hope it does well and receives a wide release.

Continue reading “Early to the Theater – Film Stars Don’t Die In Liverpool Review”