Spilling the Beans and the Plight of a Seagull in #TheLighthouse

*Potential Spoilers Ahead*

When Robert Pattinson’s character finally “spills the beans” to Willem Dafoe’s character in Robert Egger’s grim, grimy and sea-battered The Lighthouse, he claims to be a former timber worker who killed his boss, wrestling now with his guilt at the remote coastal outpost of the film’s title. I thought, however, that he was more likely the soul of one of those dead sailors Dafoe claimed are living inside seagulls. A particular seagull, with one eye, is one of the key antagonists (along with Dafoe), but all three characters (young man, old man, and gull) might very well be one in the same in this Persona-like decent into male madness.

There are elements of The Lighthouse I admired: Dafoe’s over-the-top salty seadog ranting, the claustrophobic aspect ratio, the Nova Scotia setting, the bleak black-and-white cinematography, the seagull, and the surreal visions (a harpy of a mermaid, a slithering Neptune).

There are elements of The Lighthouse I could’ve done without: the focus on bodily functions, the insular white male insanity, the fate of the seagull, the seagull’s ultimate revenge.

There’s nothing that was particularly scary, but certain scenes and images were fittingly disturbing. Some parts were played so absurdly straight (a seemingly endless fall down twisting stairs) as to elicit laughter.

I could’ve used more story…more characters…more of the sea.

Much like Eggers’ first film, the equally grim The Witch, I can’t say I liked the film, nor would I recommend it to anyone. But I know there are many out there who would watch this and relish every stinking bit of it. So if you’re one them, enjoy.

Written by D. H. Schleicher

A Most Wanted Man

A Most Wanted Man

Here’s one of the many reasons why the brilliant Philip Seymour Hoffman will be so sorely missed:  his mere presence prompted other actors/actresses to up their game.  Case in point here in A Most Wanted Man:  the couldn’t be lovelier but normally vapid Rachel McAdams, shaky German accent and all, manages to actually make you feel for her troubled lawyer accused of being a social worker for terrorists.  What’s even more amazing is that in an adaptation of John Le Carre novel you actually feel anything for anyone!  With the emotional powder keg of The Constant Gardner being the exception to the rule, Le Carre’s spy procedurals are normally colder than an interrogation room metal tabletop.  Yet Anton Corbijn wisely allows his A-list cast to tap into the quiet, bubbling under the surface, heartbreak of this post 9/11 spy-eat-spy world.

Philip Seymour Hoffman is Gunther Backmann, a world-weary German intelligence station chief in Hamburg who was burned by the CIA at his last post in Beirut where assets were betrayed and lives lost.  He’s quietly been toiling away, utilizing McAdam’s liberal lawyer to reel in his minnow, a Chechen Muslim who entered Germany under cloak and dagger, that he hopes to dangle in front his barracuda, a renowned Islamic political activist and spiritual leader thought to be secretly funding a shipping company with terrorist ties.  He tries to keep the CIA, represented by a professionally flirtatious Robin Wright, at bay, while aided by his right-hand woman played with subtle skill by the fantastic Nina Hoss.  Willem Dafoe, meanwhile, plays a banker used as a pawn to channel the alleged funds that were left behind in secret by the Chechen’s recently deceased Russian crime lord father. Continue reading

Nature, Redemption and Tasmanian Tigers in The Hunter

The Hunter is one of 2012’s best films.

One of the greatest pleasures of being an avid film lover is discovering those overlooked gems.  The Tasmanian-set Australian allegory The Hunter (directed by Daniel Nettheim) is one such film.

The titular character is a man with no back-story played by Willem Dafoe in what is ironically the peculiar actor’s richest role since portraying Jesus in Scorsese’s The Last Temptation of Christ.  His Martin David is a man tempted by necessity to track and capture the elusive Tasmanian Tiger (thought to be extinct) by a stereotypically evil corporation (Red Leaf – echoing the Weyland Corporation alluded to in The Grey and the driving force in Prometheus) looking to unlock the secrets of the beast’s DNA and its alleged paralyzing toxins.

The cresting and rolling landscape of Tasmania (which can only be described by this ignorant American as a cross between the Smoky Mountains and a tropical rainforest) are on display in a coldly haunting way.  The hills seem cut off and without an apex – as if Mother Nature came down with the wind and shaved off the peaks with a butter knife.  David becomes the lodger of an environmentalist widow (the elusively alluring Frances O’Connor) with two young children (the endearingly naturalistic Morgana Davies and Finn Woodlock) and is guided into the Tasmanian wilderness by Sam Neil. Continue reading