“The Lighthouse”, a new period horror film, is sure to unsettle and delight viewers for generations to come
BEYOND THE usual “Dracula” and “Frankenstein” fare, period-specific horror films are considered sufficiently esoteric that few directors have attempted to make them. Robert Eggers is a rare exception. His first film, “The Witch” , was set in Puritan colonial times and depicted a devout family of Plymouth Rock separatists who come to believe themselves cursed by a malevolent spirit. The group eventually settles on the eldest daughter as the source of both this demon and all their misfortunes.
“The Lighthouse”, Mr Eggers’s new offering , has the same confined spaces and obsessive attention to detail evident in “The Witch”. A maritime nightmare captured in black-and-white 35mm film, it lights upon the craggy cliffs of Nova Scotia in the late 19th century. It begins with a yellow-bellied workman, Ephraim Winslow , arriving at the remote, foreboding lighthouse that has long been the domain of a curmudgeonly keeper, Thomas Wake .
The film is better at creating a fearsome atmosphere than an engaging plot, and though the lighthouse itself exudes a sinister Gothic character, its two inhabitants are the true beacons. Mr Pattinson and Mr Dafoe enthusiastically take up the challenges of their roles: Mr Dafoe bellows sea shanties and growls dire proclamations from behind his smoking pipe.
Though Mr Eggers has created era-specific spooks for modern audiences, he also manages to transcend the usual confines of both period dramas and the horror genre. The extreme solitude of his characters, both here and in “The Witch”, removes them somewhat from the confines of time and gives space for audiences to insert their own interpretations. In its final act, Mr Eggers allows “The Lighthouse” to move from period novelty into timeless myth.
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