There’s no denying that this romantically toned period drama looks effortlessly beautiful. The location greatly encapsulates both the sheer wonder of an island but the brute reality it provides also. Aside from the look and performances in this film, I found portions of the story wavering and slow.
WW1 soldier Tom Sherbourne (Michael Fassbender) gets himself a temporary position as a lighthouse keeper and soon gets the permanent role. Away from Janus island he falls for Isabel (Alicia Vikander) who shares this feeling of affection and togetherness. Staying together on Janus as husband and wife they think life is bliss but soon it fractures and a boat washes up offering them a risky opportunity at happiness.
Now knowing that this movie was directed by Derek Cianfrance, who was at the wheel of ‘The Place Beyond the Pines’, it’s clear to see the parallels in style. Both films look and flow very well but seem to lose interest by the last third, this 2016 release may not lose interest as possibilities of crime heat up but the way it’s directed doesn’t build up any gripping connection which is a shame, because the way we fall into the romance of Tom and Isabel before this is done so well.
Cianfrance also wrote the screenplay and again, it’s the last third where everything becomes so tinged with niceties that it almost threatens to bore you. More often than not, this film goes along trying to make you cry or at least engage in a sad manner to what we’re seeing, sometimes it works thanks to the performances but the majority of it starts souring because it feels like it’s shooting for the Academy’s attention.
Michael Fassbender delicately places the almost silent and war-torn Tom, clearly racked with past sins and now performing nicely, this new guilt and sense of right and wrong. Alicia Vikander powers through with gusto and raw emotion when it’s called for but has a chance for a softer smiley side near the beginning. The two of them together and enthralling and their real life connection obviously shines through. Rachel Weisz is great in this too, arriving late but making her mark as Hannah, a woman ridden with grief and loss.
The emotion it strives for isn’t as wrenching as it should be and it all feels like a tame melodrama by the end but a trio of fantastic acting, Desplat’s score and the cinematography help retain it’s cinematic romance.