Robert Eggers, along with the likes of Ari Aster, is carving out a wonderful little filmography; obscure, challenging, and ultimately brilliant cinematic offerings. Both The Witch and The Lighthouse offered unforgettably entertaining and artistically beautiful works which intrigued more than just the regular arthouse crowds.
For his third outing Eggers brings a very simple tale of revenge to the screen, and litters it with gorgeously lit and constructed shots that seem equally grounded, nightmarish, and dreamlike. The Northman sees Alexander Skarsgard as Amleth, a prince of a Viking kingdom who watched his father (Ethan Hawke) get murdered by his uncle Fjolnir (Claes Bang) back when he was a child. Having sworn vengeance for years, and hearing that Fjolnir has been ousted as king and now lives as a shepherd, Amleth sets about making his way home to kill Fjolnir and rescue his mother (Nicole Kidman).
Like Eggers’ previous films, The Northman is a slow and deliberate affair. It takes its time, much like the main character, in setting up character motivations and their actions. The pace never falters, however, as the entire film wreaks with a brutality that unnerves and leaves one awestruck. The performances, especially that of Skarsgard, are ferocious. It’s the way he holds his posture, the way he growls dialogue, and how he keeps an unhinged persona bubbling on the surface, that makes his protagonist fascinating to watch.
The theme of revenge is handled how you would expect in such a film, with the clear motivation of the main character also leading them down a dark path. It’s beautiful to watch, but also sickening. Such themes are enhanced through the visuals, as the landscapes are gorgeous but unforgiving, and the violence is both exhilarating and traumatic. The action sequences are choreographed with precision, but leave room for a bluntness that has them feeling realistic and filthy.
Despite this realism, The Northman also flirts with mystical and magical offerings that explore Norse mythology in a confident and charming way. We are treated as people who have been dumped in this world, as there is no audience avatar nor lengthy exposition. Why have they decapitated that animal? What’s that dance about? Either go with it, jump to your own conclusions, or Google it when you get home. Treating us as trespassers on this personal tale makes it all the more fascinating, even if the plot beats are familiar.
The film’s biggest asset may very well be sound, in all its forms. This is a film best taken as loudly as possible. From each slash of the skin, crush of the bone, or howls of the wolves, The Northman does not let you ignore it. The sound also integrates seamlessly with the ambient score of Robin Carolan and Sebastian Gainsborough. At one point a sword is unsheathed and it is almost impossible to distinguish whether the sound is part of the score or an isolated sound effect.
Whether you want phenomenal action sequences, sumptuous visuals, or riveting performances, The Northman really is crafted to an expert level where it’s difficult to find faults. There’s even some offbeat humour that usually hits a few moments after the fact, and makes you feel uncomfortable to laugh at. The Northman is a grand epic that should entertain most audiences when it isn’t pummeling them over the head with brute force.
The Northman
Summary
Crafted to expert level, The Northman is a grand epic that should entertain most audiences, when it isn’t pummeling them over the head with brute force.
