The Northman is perhaps the most accessible work of writer/director Robert Eggers’ young career. He purportedly did not have final cut and the film does feel a half step less quirky than The VVitch and The Lighthouse, both of which I loved. Still, even with one eye sneaking peaks at mainstream concerns, The Northman exudes a distinctive creative vision.
It’s the year 895 and young Prince Amleth (Oscar Novak) is excited for the return of his father, Aurvandil War-Raven (Ethan Hawke), the king of Hrafnsey (an Icelandic island). However, the king is soon betrayed and killed by his own brother, Fjolnir (Claes Bang). Though Amleth escapes to the sea, his mother, Queen Gudrun (Nicole Kidman), is taken by his usurping uncle. Amleth vows revenge.
Years later we catch up with Amleth (Alexander Skarsgard), who is now a Viking berserker. After ravaging a village in the land of Rus (modern-day eastern Europe and Russia), Amleth overhears that some of the newly captured slaves are being shipped to his treacherous uncle. After an encounter with a local witch, memorably portrayed by famed Icelandic singer Bjork, Amleth hatches a plan to disguise himself as a slave and infiltrate Fjolnir’s household. Fate intervenes, though, when he meets the proud and cunning Olga (Anya Taylor-Joy). As it was foretold, the vengeful Amleth will soon have to choose between kindness for his kin and hatred for his enemy.
Additional players include Gustav Lindh as Fjolnir’s older arrogant son, Olwen Fouere as a priestess, Hafthor Julius Bjornsson aka The Mountain from Game of Thrones as a slave champion, and Willem Dafoe as a sort of jester shaman.
The Northman was co-written with famed Icelandic poet Sjon. It is actually based on figures from Scandinavian legends which also formed the basis of Shakespeare’s Hamlet. In fact, it feels like a stripped-down and more mythical version of the famous play. However, even though the characters are ripped from ancient tales, they retain their humanity. They are not larger than life. Different as old Scandinavian/Viking culture may be from modern sensibilities, and despite the presence of a few magical type characters, this is a world we can recognize that is inhabited by believable humans. The structure is imposed upon the work by named chapter breaks. In addition to demarcating storytelling transitions, it assists in achieving an epic feel. It should also be noted that there is a pervasive moral ambiguity, which of course compliments the revenge storyline.
Performances are all pretty much excellent. This is Skarsgard’s movie and he nails the role. His Amleth fits right into the Viking age and maintains our interest even as he does some not-so-nice things. Taylor-Joy is integral to the film’s success as well and is maybe the most sympathetic of all the characters. Most of the smaller roles are filled by performers that I am unfamiliar with, but that element for sure helped with my immersion. On the other hand, I will say that though I generally like Nicole Kidman, and I acknowledge that she maybe has one of the more difficult roles in the film, I did feel like she almost goes over the top toward the back half of the 136-minute runtime. This is truly a minor nitpick, though. For the most part, I was able to let go and just enjoy the story.
Cinematographer Jarin Blaschke captures the stunning sets and locations gorgeously. THE Northman was shot in rural Ireland and Northern Ireland and the forbidding beauty of those locales is put to ample use. I was absolutely transported back over a thousand years. Costumes are outstanding, from the wolf skins worn by the berserkers to the primitive elegance of the gown worn by Bjork’s seeress. Every effort is made to draw you into this fully realized and slightly magical world. In addition to the painterly compositions, there are numerous tracking shots that masterfully reveal or conceal, making for a visually sumptuous watch. Peppered here and there are trippy and surreal glimpses of worlds beyond our own, making for a nice foil to the grimmer and earthier palette of the rest of the film.
Robin Carolan and Sebastian Gainsborough’s percussive score lends the piece some rhythm. It subtly puts you on the edge of your seat when appropriate and also blows up as the perfect accompaniment to Valhalla. Action sequences are thrilling and brutal, though I kind of expected it to be gorier than it is. It’s violent to be sure, but Eggers approaches the proceedings from a historical action perspective rather than going all-in on splatter.
Though I would probably place The Northman in third place after The VVitch and The Lighthouse, I would nevertheless still say it is a kickass movie that is leagues more interesting than most of what’s being released in cinemas currently. Robert Eggers remains one of the most exciting young filmmakers out there and I remain an unabashed fan. I hope in the future that he is given the opportunity to realize his unique visions without interference from the suits. The Northman receives my highest possible recommendation and I think fans of Valhalla Rising, Mandy, and Gladiator will dig it the most.
Michael Cavender