The light between oceans collected in 1918, as Tom Sherbourne (Michael Fassbender) takes a job as the lighthouse keeper on an island off the coast of a small town in Western Australia.
While Tom was warned ahead of time of the psychological burden that this line of work was the guardian of the previous beacon, leading to job and sees it as an opportunity to enjoy some peace and quiet after years of struggle in World War II – in time for signing long-term contract. Tom even form a connection with his employer’s daughter, Isabel (Alicia Vikander) and before you know it, the couple has fallen in love and married.
Although life with only each other away from the mainland (and all persons residing there) the couple is easily installed in its simple, but happy, his difficulties with having a child threatens to take a permeant toll on your happiness .
Fate intervenes when a rowboat adrift carrying a baby washed on the island and a broken heart begs Isabel – and finally convinces – Tom agree to pass the child as their own. However, when they learn the truth about the child and where it comes, the pair face a dilemma that no matter what they do, end up in a broken someone’s heart.
Adapted from the novel of the same name by M. L. Stedman, The light between oceans is the latest work as director of acclaimed filmmaker Derek Cianfrance Blue Valentine and place Beyond the Pines fame. As in the earlier work of Cianfrance, Light between the oceans is a careful examination and well acted on how the actions and decisions to sustain relationships can have unintended consequences (some of which are not even going to feel until years later) regardless of the intentions behind them.
Although Cianfrance guide procedures here with one hand (possibly) stronger and more confident than he had in his previous efforts as director, The light between oceans is up to the exploration of these issues and related ideas in a particularly attractive way or appeal.
The light between oceans is, by design, a soap opera that suggests collective works of Nicholas Sparks – the use of narrative devices and development of the melodramatic plot to spin a thread that goes from being a romance fairytale for a love story (potentially) condemned, in a short time.
Michal Fassbender and Alicia Vikander, proving once again why they are an Oscar nominee and winner of an Oscar, respectively, help to better emotionally-earth events that take place here, allowing light between oceans to address very difficult (the emotional scars left by the different types of personal loss) without coming off as distasteful or saccharin. Unfortunately, Cianfrance tries to cover too much ground here with a narrative that ultimately extends for many years while fighting their great ideas, but only manages to paint the main characters and their background stories and experiences, too broadly.
Visually, however, the light between oceans is more accomplished work as director Cianfrance to date. Under the watchful eye of cinematographer Adam Arkpaw (True Detective Season 1 and header-Fassbender Macbeth last year), the light between oceans artfully sets the mood for any particular scene or moment through sharp snapshots costal Australia and New Zealand, where the film was shot.
The framing camera angle and captured images further enriches the substance of the narrative of the film, like the frequent use of ambient sounds of the environment and the dramatic score by Oscar winner Alexandre Desplat (The Grand Budapest Hotel) – except for when the music is too over the top, anyway. The problem is that the stunning craftsmanship of the film ends also compensating for deficiencies in the story being told here.
As indicated above, strong actions Vikander Fassbender and also end up being in a weak service account. Part of the problem is that the light between oceans largely framed the narrative from the perspective of Tom – referring to its history and the events that form it, without fleshing Isabele as a character in the same measure.
Isabele, however, is the driving force for that much of what happens in history and so much of what happens in the movie ends up being less emotionally powerful as a result. Fassbender and Vikander have good chemistry on screen and make Isabele Tom and feel more like real people, but the light between oceans ends still feeling a little hollow – being driven more by machinations of the plot to character development.
The third important in light between oceans player is the character of Rachel Weisz: Roennfeldt Hannah, the mother of the child “adopted” by Tom and Isabele. background of Ana is somewhat clumsily woven into the second half of the film – which allows Hannah to better serve its purpose in the plot serve, but also fall short of fully developing the character and make your own bow as convincing or interesting than the tom and Isabele.
The light between oceans can be a story all about how three different people are affected by fate and the world around them and the subsequent impact on each other, but it is only a partial success with its ambitious effort to tie the three storylines out satisfactorily.
In the end, good performances and beautiful cinematography raise the light between oceans, however artifices of telenovela and unequal stop writing. Cianfrance works well from a perspective as director – even though, as the writer here tries to translate the source Stedman material in a cinematic narrative that meshes with the crude and authentic tone of his style now set filming.
The light between oceans therefore ends up being a film that has many qualities that are worth admiring, but it feels a bit cold and distant taken as a whole. Still, if a respectable romantic melodrama (even one with additional portions of misery) is to your liking, then this is a love story that you do take a guess.
TRAILER The Light Between Oceans
The light between oceans is now in US theaters. That is 132 minutes and is rated PG-13 for sexual content and thematic material.
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