The long non-blinking, unflinching enactment of the monologues warps you back to the theatre and you are in one.
Eggers offers a sense of vulnerability. That is his gift. Now let’s look at the premise itself. No matter how beautifully and brilliantly will it be wrapped. It certainly would leave you depressed at the end of the day. Yet, I am happy with the final result. Of course, not talking about the themes and the plot and the genre it explores. But the filmmaking. The co-writer and director Robert Eggers’s subjective method is enchanting. You are lured into the procedure. The writing. Often Shakespeare and often Dickens is seen or heard or subtexted. There is a morality clause threatening the wrong doers in the film that is impeccably heartbreaking. And I say heartbreaking, for it is not exactly denying any boundaries.
And if, forgetting all the conditional circumstances that these duo is surrounded with, it is and they could be pushed over the immoral section. The script is written in the opposite direction. In the sense that it motivates you to root for them to get on the wrong track. This is wrong and core of this art form. Now, you as an audience are struggling. The claustrophobic, the lunatic experience feels like a justice. You are told to ask for those moments.
And earns those moments are our characters. The master and the slave. The prolific and the dead. Willem Dafoe and Robert Pattinson shares, or more honestly snatches, this characteristic from real life, as mentioned, from their career as well as in the character. And for this almost perfect casting which should and does boost the plot, there is a sound and clear “thank you” echoed in your emotion as they dance extravagantly in the terrifying black and white shades. The Lighthouse is a collection of various artists collaborating for something purely evil. The “pure” part I like, I envy.