Robert Eggers is establishing a growing filmography of period pieces that centralize the human experience. Whether it is facing the spiritual world, succumbing to madness, and seeking revenge, Eggers immerses audiences into his visions grounded in our history. However, Eggers has shown meticulous attention to detail which allows the audience to fully embrace the worlds he creates. With each of his three features thus far, his love for history has been seen and felt. The Witch (often stylized as The VVitch) has practical locations and time-accurate dialogue. The Lighthouse embraces early American mysticism, which is reflected by its presentation. Lastly, The Northman is quite possibly the most historically accurate Viking film ever made.

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Historical accuracy is a crucial factor to Robert Eggers’ films. However, the movies are not fully reliant upon that accuracy to tell a compelling story. After all, audiences can see the accounts of historical events on the History Channel. That is not enough; therefore, Eggers utilizes characters with well-written agendas in grounded worlds to elucidate the period in which they live (and vice versa). The dynamic between the characters, cinematography, careful implementations of musical scores, and emotional connections are what makes Eggers’ films stand out amongst the masses. Each film tells a compelling story, with fleshed-out characters. All of that is beautifully laced with realism and historical accuracy.

The Witch

     A24

What made the critically acclaimed film The Witch so compelling was how true it was to the early American time period. Being shot entirely in one secluded village location created this eerie sense of isolation for this family. While their dialogue stood out as the most prominent example of how the audience could peek into a glimpse of our own history, the entire film is a testament that period. Eggers spoke in an interview with Vulture about his extensive research into understanding this time period.

However, in addition to the commitment of Eggers’ research, he allowed his own directorial style to shine. His aesthetic of a slow-burn thriller allowed audiences to get to know the characters and the unforgiving world in which they lived. They are at the will of the surrounding elements, which at the time were so often considered dictated by spiritual and demonic forces, something most apparent when the darkness fully consumes the innocent, and takes its true form… through the eyes of a goat.

I checked out anything witch-related or Puritan-related or related to early Colonial history. It’s easy to find collections by contemporary historians of primary source materials, so I used a lot of those. There was a book that was a collection of Elizabethan witch pamphlets that was very helpful. Eventually, the more I read, the more I became aware of specific things. There were even things that didn’t have to do with witchcraft but were eye-opening, like William Bradford’s Of Plymouth Plantation, and other texts like that.

The Lighthouse

In addition to the story being based on true accounts of European lighthouse keepers, The Lighthouse shines with style and attention to detail. An article from ScreenRant cites numerous historical and literary inspirations that Robert Eggers took in making this film. Going through Greek mythology, the work of H.P. Lovecraft, and Herman Melville, Eggers had plenty of source material to create one of the most original presentations of New England folklore. However, his style is showcased by his commitment to the technical specs of the movie itself. Being shot on black and white film on practical locations is quite the difficult feat.

The Northman

     Universal Pictures

The Northman is the perfect blend of style and substance. Eggers has stated he worked with Viking historians throughout this entire production to create one of the most historically accurate depictions of Viking culture. Take it from Eggers himself, in an interview with Vanity Fair:

He continues on, discussing the necklace the protagonist Amleth wears throughout the film.

We were working with the finest historians and archeologists in the field of Viking studies on this movie and this is the most historically accurate Viking movie ever made.

From the shields, the swords, and the styles of combat, everything is as accurate as they could be for the screen. However, what is most notable is that the foundation of the story is one we’ve seen many times before. The story of Amleth the Viking is what inspired William Shakespeare to write The Tragedy of Hamlet, which then became the inspiration for Disney’s animated classic The Lion King.

So this is a piece of Viking jewelry that is made from an Arab silver coin. And one of the things that really fascinated me about Viking culture when I started to learn about it was that it’s a culture of cultural fusion."

Taking source material of which we know (hearkening back to the “cultural fusion” Eggers mentions) gives room to play around with the mythology and turn it into something new. Eggers’ style really shines in this film. He utilizes fantastical vision sequences and long elaborate shot structures to fully bring the viewer into the Viking world. We feel what they feel, both inside and out.

A Picturesque Conclusion

All three of Eggers’ features end with iconic final scenes that look as if they are right off a painted canvas, reminiscent of a tableaux vivant, or ’living picture.’ That seems to be purposeful, as these haunting images leave audiences with a large emotional impact and connect the modern medium of film with the historical medium of painting. First, in The VVitch, we see Thomasin (Anya Taylor-Joy, her first film) rise from the Earth below her with a fiery glow illuminating off her snow-white skin, her hair blowing in the wind as she embraces the evil before her. The image is both terrifying and beautiful.

Next, in the final sequence of The Lighthouse, we see Robert Pattinson’s unfortunate fate as he is seen experiencing a slow, painful death by the birds surrounding the lighthouse. His fate, sealed by his face to face contact with the light itself, mirrors that of Icarus who got too close to the sun. Just as Icarus failed to heed the warnings, Pattinson’s character endures the effects of too much power. The final shot is disturbing, but could be painted in black and white paint just as beautifully as it was shown on film.

Lastly, there are many sequences in the last act of The Northman that beg discussion. However, the moment in which Amleth (Alexander Skarsgârd) and Fjönir meet each other’s blades (in of the best action sequences of the year) is a David and Goliath moment that is slowed down to show its power. The shot composition is perfect and is the ultimate release of tension that has been building since the first scene. The rawness of the performances and the animalistic nature of the scene is concluded with amazing precision.