The Light Between Oceans

Alicia Vikander may look content but Michael Fassbender sees trouble on the horizon.

Alicia Vikander may look content but Michael Fassbender sees trouble on the horizon.

(2016) Drama (DreamWorks/Touchstone) Michael Fassbender, Alicia Vikander, Rachel Weisz, Florence Clery, Jack Thompson, Thomas Unger, Jane Menelaus, Garry McDonald, Anthony Hayes, Benedict Hardie, Emily Barclay, Bryan Brown, Stephen Ure, Peter McCauley, Leon Ford, Jonathan Wagstaff, Gerald Bryan, Elizabeth Hawthorne. Directed by Derek Cianfrance

 

Bad choices are part of human nature. We all make them but sometimes those choices are so monstrous, so heinous that even though we convince ourselves that we’re doing it for the right reasons, we cannot escape the fact that we’ve done something horribly wrong.

Tom Sherbourne (Fassbender) is a veteran of World War I who witnessed many horrors in the trenches. He’s returned home to Australia to find some kind of peace but the press of people – even in the Australia of 1918 – is too much for him. He applies for and receives a position as a lighthouse keeper on a remote island off the coast of Tasmania.

The opening was there because the loneliness of the post had unhinged Sherbourne’s predecessor but the harsh weather, dull routine and meticulous nature of the job appeal to Sherbourne and he isn’t bothered by the isolation. That changes when on a visit to town he meets the daughter of the local schoolmaster, Isabel Graysmark (Vikander). She’s lively, vivacious and is completely smitten by the taciturn, wounded Sherbourne. The two correspond and eventually, marry and she moves to the island with him.

As young couples will, the two try to get pregnant but this proves to be difficult. A series of miscarriages turns a happy marriage into a relationship with a terrible cloud hanging over it. Isabel is beset by depression and Tom doesn’t know what to do to help – until they spot a dinghy floating onto the beach. In it there is a dead man and a living baby.

Tom is anxious to report the incident and get the authorities involved but Isabel is desperate. She needs that baby and she figures she’s as good as anyone to raise it. She convinces Tom to keep the child and bury the body without telling a soul. As far as the mainland knew, Isabel was pregnant (she’d just had another miscarriage when the dinghy floated ashore). Nobody questioned that the baby was hers.

Four years later Lucy (Clery) (as the baby was named) Tom and Isabel are a happy family. They visit Lucy’s grandparents when Tom spies a woman putting flowers on a grave. This turns out to be Hannah Roennfeldt (Weisz), the wife of a German national who had rowed out in a dinghy along with their baby daughter and disappeared. After a search, it was presumed the dinghy sank and both her husband and daughter had drowned. Tom realizes that this woman, whose life has been utterly destroyed, is the true mother of Lucy and guilt begins to eat away at him. This leads him to do something that will bring his happiness to a standstill and change the lives of everyone involved forever.

Cianfrance has proven himself a master of creating moods and displaying emotion-wrought images. He has come up with another film that is emotionally charged and beautiful to look at. He has assembled a plum cast for this and it pays off; Fassbender and Vikander make a terrific couple and the chemistry between them is undeniable (shortly after filming completed the two announced they were a real-life couple as well). They also have some fine support from the mostly Australian cast (and Bryan Brown makes a sadly too-rare appearance as Hannah’s rich father) as well.

The story itself has a great deal of power to it as an examination of how guilt affects us and how good people can make horribly bad decisions but there are times the movie gets a bit too over-the-top sugary sweet. Some actions and decisions defy logic and realism. Granted this takes place in a very different era but even so, it seems that a few well-chosen words would have certainly made more of a difference and spared the Sherbourne family a good deal of agony.

Fassbender, Vikander and Weisz have all flirted with Oscar with both of the women having won statuettes of their own. The acting in the movie is sound. The cinematography is breathtaking. Those two elements alone make this one of the standouts of a very disappointing summer, quality-wise. Don’t expect to see a lot of love for this one come Oscar-time, but Cianfrance is likely headed in that general direction already.

REASONS TO GO: Fassbender and Vikander have plenty of chemistry and both deliver sterling performances. The cinematography is out of this world.
REASONS TO STAY: It does get treacly in places.
FAMILY VALUES:  There is a little bit of sexuality and plenty of adult thematic material.
TRIVIAL PURSUIT:  Both Fassbender and Vikander have played androids in high-profile films; Fassbender in Prometheus and Vikander in Ex-Machina.
CRITICAL MASS: As of 9/27/16: Rotten Tomatoes: 59% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: To Keep the Light
FINAL RATING: 8/10
NEXT: For the Love of Spock

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