The ambition of Robert Eggers was apparent after his debut The Witch, a one-of-a-kind horror film steeped in deeply-felt folklore. The dialect, the costumes and settings, the sound design and the themes were all clearly the result of hard research and dedication to period accuracy rarely realized in modern film. Eggers himself, who presented a special IFFBoston screening of his follow-up The Lighthouse at Boston’s Brattle Theatre last night, acknowledged the explicit attempt to “commune with the folk culture of the region” in crafting his debut. But while that hard behind-the-scenes work was definitely still required by The Lighthouse, less of it shows in the final product, resulting in a more mature effort that still values the power of myth and lore.
Atmosphere is everything. In the lead-up to the film’s premiere at Cannes in May, much was made of the film’s unique aesthetic choices. Despite the popularity of Roma and Cold War last year, the mere concept of a black-and-white format remains alienating to many audiences (and financiers). Shooting on 35mm gives that black-and-white an extra characteristic, with the blacks bottoming out into nothingness. Additionally, A24 posted this snippet from the Lighthouse script in reference to the boxy, unpopular aspect ratio that’s been largely defunct since the early sound era:
Seemingly the most off-putting of these choices by Eggers is the one it shares with The Witch: dialogue comprised of archaic vernacular and dialect, delivered in an accent that also aims to fit the time and place. Eggers and his co-writer brother Max wrote “in-dialect,” rather than writing in plain English and then translating, and the effect — as was the case with Witch — takes a minute to groove once the dialogue begins. And there’s a lot of dialogue in The Lighthouse.
I never much expected Yorgos Lanthimos to become a great filmmaker. He was always a very good filmmaker, and it must be noted that we’re reserving the term great here for someone truly deserving of the moniker, as in one of the all-time greats. Nowadays great gets bandied about a lot. Is Ridley Scott great? From time to time, sure. Maybe we weigh the greatness of Blade Runner against the decidedly-not-so-greatness of Alien: Covenant? Is Francis Ford Coppola great? He definitely was. Does he get a lifetime pass for Godfather and Apocalypse Now? Is Wes Anderson great? No, he’s not. Stylish, yes. Symmetrical, very. But a mere few living filmmakers are transcendently, naturally, consistently great. Surely it’s a malleable and transient label, fit to be removed, re-earned, reconsidered. And surely — as The Dude would say in that movie by the great Coen Brothers — it’s just, like, your opinion, man.
Lanthimos isn’t yet one of the all-time greats, but watching The Favourite I did think, for the first time, that he might just have it in him someday. Such a consideration might have been questionable after his previous film The Killing of a Sacred Deer, an overly melancholy tale featuring a creepy turn from Barry Keoghan, one cool shot of a descending escalator, a Funny Games-esque climax and a whole bunch of monotone dialogue. It wasn’t a bad movie, and it might even be a pretty good movie. But the cold design of Sacred Deer made it impactful but never resonant. Maybe it was just so different than The Lobster, the previous effort from Lanthimos, which was a darkly funny and much more inventive film.
Having just finished and thoroughly enjoyed The Night Manager, I thought I’d know more or less what to expect from High-Rise. This is due largely in part to the sexy sexualization of Tom “Sexy” Hiddleston, who stars in both and is also sexy. I assumed his character in High-Rise to be the sterling yuppie with the isn’t-it-perfect life structured in service of the concealment of darker, truer impulses. In Night Manager Hiddleston’s attractiveness is essentially made into a plot point; so too, probably, would High-Rise note the perfection of the specimen before delving into a personality far less desirable. A six-pack and a violent extreme, per American Psycho, per marketing stills like this:
But High-Rise isn’t sexy for very long. The prologue is a glimpse of the messy future, wherein Hiddleston’s Doctor Laing seemingly resorts to making food out of the dog, making paper airplanes out of the electricity bill, and making a ramshackle life in the husklike ruins of the tower block. It is suspiciously unsexy. Then again, though, resorts isn’t the right word: Laing has very definitely chosen this. He’s in a sort of hell and is more or less enjoying it.
No one is expected to be great at something at their first attempt. Especially not in the arts. When parents buy their child a violin, it’s almost a guarantee that they will spend the next month or so plugging their ears at the cacophonous sounds they will be hearing at least an hour a day. Filmmakers are not exempt of this concept. We’ve seen the first films of the likes of Quentin Tarantino and Martin Scorsese, and they’re not very good. Even the master Stanley Kubrick notoriously hated his first film Fear and Desire, going so far as to buy all prints of the film so no one could see it. However, every once in a while, we get someone who seems to have a complete understanding of their art in their first foray into it, like when Mozart first sat down at a piano and began placing notes on a ledger line. This is the case with the great Russian filmmaker Andrei Tarkovsky and his debut feature-film Ivan’s Childhood.
Ivan’s Childhood, sometimes known as My Name is Ivan, was made in 1962 and is a tale of a boy named Ivan who is used as a scout during World War II. It follows Ivan’s war-torn youth and the lives of the people around him as they all have to deal with the conditions this event puts them in. It is based on the short story “Ivan” by Vladimir Bogomolov. The film was, as previously mentioned, Andrei Tarkovsky’s first, astoundingly so. To get to the point, Ivan’s Childhood is a very beautiful film and although when it comes to Tarkovsky’s sadly small filmography, works like Stalker, Solaris, and Andrei Rublev are usually given the most significant attention (deservedly so, may I add), I believe Ivan’s Childhood is just as worthy of this praise and attention.
Wait a minute – Aaron Sorkin wrote Enemy of the State? Before we get too deep into false advertising here, let it be known that “rewrites” and “script edits” are terms that are extremely broad and ill-defined in most cases. Yes, Sorkin was brought on for rewrites of the Enemy of the State script by David Marconi; no, it’s not clear how much of the film is “his”, at least not in any explicit way. Sorkin presently has no credit for his work on the film, no listing on IMDb or anywhere else, although an early poster (later redacted) did feature his name right after Marconi’s:
“Written by David Marconi AND Aaron Sorkin AND Henry Bean AND Tony Gilroy” – phew. That many cooks in the kitchen usually isn’t a good sign – maybe bringing to mind Stanley Kubrick’s quote about one man writing a novel, one man writing a symphony, and one man making a film – but Sorkin’s name would eventually be struck, as would Bean’s and Gilroy’s, and Sorkin’s reputation as a controlling “sole credit” scriptwriter would presumably grow from there.
Long before James Mason was cast in the role of Stodgy Old Man in every movie ever, he once played Young Hunk in Hero’s Island. This somehow has nothing to do with his age – Mason was 53 when he played the island-bound Jacob Weber, which is far older than today’s Young Hunk standards – and instead has everything to do with Mason being one hell of an actor. In fact, he appeared as Humbert Humbert in Kubrick’s Lolita in the same year, a role which definitely leans more toward Stodgy Old Man than toward Young Hunk. One can imagine a remake of Hero’s Island casting Chris Hemsworth or Chris Evans or Chris Pratt – basically any of the Marvel Superhero Chrises – in the role of the brawny Jacob, sandy hair and strategically tattered shirt and all. This would be an entirely different kind of film (Superhero’s Island) because Mason’s Jacob is hunky, sure – but is he a hero?
Set on Bull Island in 1719, we meet the Mainwaring Family as they arrive on their new waterlocked home. The deed in Father Mainwaring’s hand entitles him to ownership of Bull Island, but standing on the dirt for the first time he states with a sense of wonder that “it doesn’t feel that I own this”. Ownership, of course, is entirely a matter of opinion – and in the opinion of the fisherman who’ve lounged around the island for years, the “right” of the Mainwaring Family’s presence is no right at all. They’re essentially Crusoe’s savages in the context of Hero’s Island, though their depiction in the opening scenes hews closer to this comparison than their actual function once the film is fully fleshed out. One of the first things the Mainwaring Family sees to is the construction of a large cross, which they kneel and pray in front of once it stands tall. The “savage” fisherman watch from afar, and before we hear them say anything more than a few words we see them bless themselves with the sign of the cross upon seeing the Christian symbol rising from their dirt.
With brand-new releases the tendency is usually to shy away from spoilers in reviews, and those potential spoilers can be especially sensitive with a long-anticipated film like Interstellar (“I waited two years for this and find out the night before that [censored] is really [censored] the whole time??”). I respect reviewers who are able to provide an accurate representation of a film without divulging any/many of its secrets, but I’ve never been one of them. I can tread lightly, sure, but to really talk about a movie like Interstellar there are important plot points that need to be laid out in the open. Just the fact that we have a three-hour movie with a two-minute trailer means that the film holds vast sequences, settings, and even actors that you couldn’t possibly expect, and it’s partly those revelatory realms that we’ll be dealing with here. Consider yourself warned.