My name is Salik Waquas, and I have dedicated my career to exploring how visual elements can enhance narrative depth and emotional resonance. “The Lighthouse,” directed by Robert Eggers, is one such film that has captivated me with its masterful use of cinematography. Its visual language, crafted meticulously by cinematographer Jarin Blaschke, immerses viewers into a world of isolation, madness, and myth. In this analysis, I delve into the various elements that contribute to the film’s distinctive visual style and how they collectively create an unforgettable cinematic experience.
About the Cinematographer
The hauntingly beautiful cinematography of “The Lighthouse” is the work of Jarin Blaschke, a long-time collaborator of director Robert Eggers. Known for his meticulous attention to detail and commitment to immersive storytelling, Blaschke previously worked with Eggers on “The Witch” and has continued to showcase his unique ability to use visuals as an extension of a film’s psychological landscape. His approach in “The Lighthouse” captures the claustrophobic tension and surreal nature of the narrative, using the limitations of the medium to heighten the story’s unsettling atmosphere. Blaschke’s work on the film garnered critical acclaim, earning him a nomination for Best Cinematography at the 92nd Academy Awards. His dedication to authenticity and his willingness to push technical boundaries are evident throughout the film, making him one of the most exciting cinematographers working today.
Inspiration for the Cinematography of “The Lighthouse”
Blaschke drew inspiration from early 20th-century photography and cinema, aiming to evoke the aesthetic of orthochromatic film stock. This choice was deliberate, as orthochromatic film renders colors differently, particularly blues and reds, contributing to the film’s haunting and timeless quality. In interviews, Blaschke mentioned studying period photographs and films to capture the era’s visual essence. The works of filmmakers like Carl Theodor Dreyer and F.W. Murnau, known for their atmospheric and expressionistic styles, significantly influenced the film’s visual approach.
Additionally, classic maritime photography played a role in shaping the film’s stark, monochromatic visual language. The 1.19:1 aspect ratio—a relic of the transition from silent to sound cinema—was chosen to emphasize the towering height of the lighthouse and the isolation of its keepers. This nearly square frame enhances the sense of claustrophobia and entrapment, visually squeezing the characters into cramped, oppressive spaces. By drawing on these historical and artistic sources, Blaschke and Eggers created a visual style that feels both timeless and otherworldly.
Camera Movements Used in “The Lighthouse”
The film employs restrained and deliberate camera movements, reflecting the characters’ confinement and escalating tension. Static shots dominate, creating a tableau-like effect that mirrors their sense of being trapped within the environment. The lack of movement often forces the audience to confront the raw emotions and tensions between the characters without distraction.
When movement is introduced, it’s purposeful and often serves to heighten the psychological intensity of a scene. Slow pans and tilts guide the audience’s attention, revealing crucial details and building suspense. For example, the camera might slowly pan to reveal a disturbing image or tilt upwards to emphasize the ominous presence of the lighthouse itself. Occasional handheld shots convey moments of instability and madness, aligning the camera’s movement with the characters’ mental states. These movements serve to disorient the viewer, blurring the line between external reality and internal delusion, and enhancing the film’s unsettling atmosphere.
Compositions in “The Lighthouse”
Compositionally, the film is meticulously crafted to heighten tension and emphasize its themes. Blaschke often centers subjects within the frame, creating a confrontational and unsettling effect that forces the audience to engage directly with the characters’ emotional states. The use of symmetry and verticality is prominent, with the lighthouse often positioned as a central, looming figure. This not only emphasizes its physical dominance over the characters but also its symbolic representation of power, knowledge, and obsession.
The narrow aspect ratio contributes to the feeling of confinement, as the characters are visually squeezed into tight spaces. Compositions frequently utilize leading lines, such as the stairs within the lighthouse or the jagged lines of the rocky landscape, directing the viewer’s gaze and reinforcing themes of isolation and entrapment. Close-ups are used effectively to capture subtle nuances of the characters’ expressions, revealing their inner turmoil and descent into madness. The surrounding environment is also a critical component, with elements like stormy seas and persistent fog enveloping the characters and heightening the film’s oppressive mood.
Lighting Style of “The Lighthouse”
Lighting in “The Lighthouse” is stark and high-contrast, emulating the orthochromatic look of early cinema. Blaschke and his team used intensely bright lamps to achieve the high contrast necessary for black-and-white film stock, sometimes employing blindingly bright lights to ensure proper exposure. This approach creates a dramatic chiaroscuro effect, with deep shadows and bright highlights that heighten the sense of unease and contribute to the film’s haunting aesthetic.
The lighting not only enhances the visual style but also serves symbolic purposes. The interplay of light and shadow mirrors the characters’ psychological states, with the encroaching darkness reflecting their descent into madness. Light becomes a character in itself, symbolizing knowledge, power, and the forbidden. Iconic sequences, such as Thomas Wake (Willem Dafoe) bathed in the blinding glow of the lantern, evoke biblical and mythological imagery, adding layers of meaning to the visual narrative. The meticulous lighting design contributes significantly to the film’s immersive and unsettling atmosphere.
Lensing and Blocking of “The Lighthouse”
The choice of lenses was crucial in achieving the film’s vintage aesthetic and psychological impact. Blaschke used vintage Bausch & Lomb Baltar lenses from the 1930s and ’40s, imparting a unique softness and introducing aberrations characteristic of the period. These lenses added distortions and vignetting at the frame’s edges, subtly warping the image and giving the impression of a world that is physically and psychologically off-kilter. This visual distortion enhances themes of madness and the unreliability of perception.
Blocking was meticulously planned to utilize confined spaces effectively and convey the shifting dynamics between the characters. The actors’ movements were choreographed to enhance tension and psychological complexity. For example, scenes often position Thomas Wake in a dominating stance, looming over Winslow (Robert Pattinson), visually reinforcing the power struggle between them. The use of tight spaces and overlapping movements contributes to the claustrophobic atmosphere and underscores their entrapment.
Color Grading of “The Lighthouse”
Although presented in black and white, the color grading process was vital in achieving the final look. The absence of color required careful manipulation of grayscale tones to ensure depth, texture, and mood were effectively conveyed. The grading emphasized the orthochromatic effect, adjusting how certain colors translated into grayscale to mimic early film stock characteristics.
This meticulous attention to tonal range allowed for rich and varied grayscale tones, providing depth to images and enhancing textures. Blacks are deep and inky, contributing to the oppressive atmosphere, while whites are bright and sometimes verge on overexposure, creating an ethereal or surreal quality in certain scenes. This approach amplifies the tactile quality of the film, making every surface—weathered wood, worn skin, turbulent water—feel vividly present. The careful balance of tones in the color grading process was essential in achieving the film’s haunting and immersive visual style.
Technical Aspects: Camera Used, Lenses, etc.
“The Lighthouse” was shot on 35mm black-and-white film using Panavision Millennium XL2 cameras. The choice of Kodak Double-X 5222 black-and-white stock was deliberate, demanding precise lighting and offering unparalleled texture and grain that contributed to the vintage aesthetic. To achieve the orthochromatic look, Blaschke utilized custom-made filters mimicking early film stocks’ light sensitivity, particularly affecting how colors translated into grayscale.
Using vintage Bausch & Lomb Baltar lenses was critical for the desired softness and aberrations. Combined with the film stock and filters, these lenses created a unique visual signature setting the film apart from modern productions. The production ensured authenticity by building a fully operational lighthouse and shooting on location in Nova Scotia, exposing cast and crew to real storms and harsh conditions. The technical execution is a testament to Eggers and Blaschke’s commitment to authenticity and atmosphere.