The Northman – Review

The long-awaited third feature film from Robert Eggers, The Northman is an epic that details Prince Amleth’s (Alexander Skarsgård) saga of revenge. A mesmerising experience the fantasy genre has not seen an entry like it post The Lord of the Rings trilogy.Taking the name of its protagonist and many narrative elements from the Scandinavian legend of Amleth, which itself was a direct inspiration for William Shakespeare’s Hamlet, The Northman should be awarded the same prestige as its historical sources of inspiration.

Co-written by Eggers along with Icelandic writer Sjón, the tale that unfolds is one cinema has not seen, truly, for decades. Drawing on Sjón’s background, there is an undeniable poetic quality to The Northman’s scripting. A story that spans vast periods of time, hops from land to land and flirts with the mythical, all while exploring the futility of revenge. Eggers’ film ultimately tames what, on paper, seems like a beast that is inherently anti-cinematic. Already possessing alienating qualities given it is a non-franchise blockbuster, the scale of The Northman is titanic while remaining rich in detail, so much so it is entrancing.

To effectively communicate the journey of Amleth, it was crucial for The Northman to establish a consistent pace, and that it does. Not a single second is wasted. Divided into palatable chapters, there isn’t a world of difference between The Northman’s presentation and that of your average superhero title. The hand may be held with a looser grip than that you’d find in your latest Marvel or DC effort, but one could easily enjoy this as a truly great popcorn watch. A film that methodically splices in grand sequences of crunching action, its spectacle alone is unrivalled by anything from the recent output of the mainstream. Brutal and tense in equal measure, it passes the action film purists’ test with flying colours, guaranteed to send the heart into overdrive.

It is no mean feat to layer the writing of a project and the thematic contemplation that underlies The Northman. A joint examination of revenge, its futility and the more toxic aspects of masculinity and masculine identities, it is one of the most unique renditions of Viking culture ever seen on screen. Performance, ironically enough, has a role to play in this, and it is one which cannot be understated, but Sjón and Eggers’ co-creation is endlessly thought-provoking. Gifted greater scope and broader confines to work within compared to his prior works, Eggers’ writing especially, inflates to meet these new boundaries, the themes in effect, sub-plots; each having their own arc that compliments the characters’, the realisation is truly novel.

Also intact and surprisingly not diluted is the fantastical element which has run undercurrent through its directors’ filmography. In fact, there is a strong argument for The Northman being the most explicit fantasy outing from Eggers’ current trio of features which is little surprise given the efforts made during production. Employing the counsel of academics from fields as widespread as folklore and archaeology, The Northman has a palpable respect for and strong fundamental understanding of the era it is emulating. This translates to screen beautifully, resulting in jaw-dropping renders of prophets, gatekeepers and Gods, while keeping intact the dramatic integrity, no matter how awesomely heightened it reaches. Human conflict remains the beating heart of The Northman.

Eggers’ latest outing is something creatives strive for. A magnum opus. A work so defining that even incessant studio interference could not temper his vision. Scale adjustment is no problem – all the Eggers idiosyncrasies are still present and frankly, it’s all the better for that. Materialising on the surface with frequent collaborators also having a turn in this blockbuster or with slight more abstraction as Eggers once again explores themes of masculinity, his authorial stamp is undeniably present and it is that factor, along with the passion shown by his fellow creative parties, that makes The Northman a hit. A project that has been in development for a number of years, its meticulousness is awe-inspiring, the care behind the project truly seeps through the screen and that is quite possibly the sole reason for its effectiveness. It’s an authentic take on an attractive period of history which naturally translates well to screen and that results in a stylish, utterly relentless piece of dramatic tragedy.

Shot by Jarin Blaschke, the man behind the camera on five of Eggers’ films across both feature and short formats, the American cinematographer produces his best and most dynamic works yet. A watch of the main trailer will give hints at what’s in store. Sweeping drives through stunning vistas, tight close-ups of characters in reflection and unbroken sequences of free-flowing action. For all the brilliance of Blaschke’s work, its best contribution comes by way of its impact on the tone of The Northman. This is unmistakably an Eggers film and the continued collaboration of director and cinematographer makes sure of that. From more classic art pastiches to uber-tight framing of characters, the partnership’s style is palpable and it succeeds in splicing elements of horror into this vast saga.

Employed to once again edit an Eggers film, Louise Ford is the project’s unsung hero. With The Northman having to endure a studio-enforced re-edit, shaving the runtime down by a considerable amount, to keep its stylistic boldness is some achievement. In ghostly fashion, the editing elegantly shrouds its presence; seamlessly assembling long takes and going to great lengths to maintain a steady but constant pace, Ford’s work gives the film a beating heart.

Alexander Skarsgård leads the pack of those who use The Northman as a platform for the delivery of their career-best performance to date. Undergoing an immense physical transformation to make his 6’4” frame a little more intimidating than it typically is, somewhere along the way of the film’s production, we lost the man, in his place now stands a titan. Known more for his small-screen work in Generation Kill, True Blood & Big Little Lies, Skarsgård’s Amleth does what past films Mute and The Legend of Tarzan couldn’t, that being the announcement of him as a bona fide star. Also taking up the role of producer, his passion for the project – as can be said for all involved – shines through and likely imbues his turn with a little extra something.

Skarsgård truly takes Amleth’s saga as his own, such an incredible performance that dominates the film, it genuinely makes one question whether he was born for such a role. In an interview for Little White Lies, Robert Eggers described his latest as “Conan the Barbarian by way of Andrei Rublev” and Skarsgård realises Amleth as a fusion of both characters. Unflinching action scenes allow his newfound brutishness to run free while later story developments reveal and shatter the man’s foundations, that performance starkly different to the physical, relying on subtlety and the nuances of emotion as his motivations and principles waver. It is truly jaw-dropping and eye-openng, a performance that alone is worth the price of admission.

Reuniting with Eggers after debuting in The VVitch, Anya Taylor-Joy’s Olga is a unique delight among the film’s cast, almost existing in a world of her own. Herself a fraction of The Northman’s fantastical element, Taylor-Joy is somewhat of a Lady Macbeth type, the brains behind the vengeance mission, Olga is a character that exists almost in a world of her own. In Amleth’s world she’s effectively his everything. There are great efforts made to give her a standalone story to prevent wasting the talents of Taylor-Joy. Enslaved by the Berserker crew Amleth once belonged to, we see her fight against the oppression and wrath of Fjölnir, her own plight as interesting Amleth’s – the overlap of the two responsible for some of the film’s standout scenes. A role that requires Anya Taylor-Joy to forgo ego, she slips into a support role with ease, demonstrating her character actor abilities, something which has been somewhat forgotten as her celebrity has snowballed in recent years.

Though enjoying a relentlessly prolific career in acting, Nicole Kidman’s recent years have been a rollercoaster. While the ride has never truly fallen off the rails, inconsistency has certainly crept into her filmography, The Northman is a reminder of her capabilities. She receives little screen time but does the most to make sure her mark is left. Gudrún, mother of Amleth and now wife of Fjölnir, her performance realises the narrative significance that her character holds. Bringing to life what is simultaneously a victim and a warrior, the nuance to be found in this role is staggering, highlighted perfectly by a later scene where mother and son are reunited; an emotionally charged encounter, Gudrún’s monologue packs the power to knock audiences over. Each line is delivered with a palpable lash, its content reframing the narrative entirely, her performance genuinely transcends the barrier of the screen, impacting the viewer in a manner not replicated by anyone else.

Surprisingly flying under the radar of praise on the performance front is Claes Bang, the antagonist who genuinely comes close to stealing the show. His lead turn the best part of Mark Gatiss and Steven Moffat’s reimagining of Dracula, Bang delivers another imposing, swaggering performance here in The Northman, as Fjölnir, the illegitimate brother of King Aurvandil (Ethan Hawke). Significantly more reserved and muted in comparison to his take on the vampiric Count, Bang’s performance makes Fjölnir an unforgettable villain. Catalysing the narrative, it is not until the later acts – and major reveals – that he comes to the fore of the film, towering over whole sequences in a show of status while managing to weave into Fjölnir elements of sympathy. He is simply unfortunate that his impressive efforts are lost among the shadows cast by Skarsgård’s monstrous tour-de-force.

A final word on performance, there must be credit given to both Willem Dafoe and Ethan Hawke. It so transpires that the two have greater roles in the film’s marketing than its story, but the well-seasoned duo symbolise the support cast’s effectiveness and definition. Dubbing their roles as cameos even feels somewhat overinflated but as a compliment to both the direction and individual turns, they – along with a hundred others one could use as examples here – leave a mark. The world of The Northman is not only meticulously built, but bustling also; a true modern epic. History will be kind to this film, honouring its efforts with a greater fondness than the whimper that was its initial reception.

A star-studded showcase of truly great performances, wrapped in the safe hands of technical brilliance, The Northman is a throwback to a bygone era of epic cinema; classily evoking the spirit of Shakespeare to deliver a perennially tense, crushing tragedy that gives hope – albeit only a little – that value in mainstream cinema is not entirely dead.