This 2022 epic, the third film directed by Robert Eggers (following THE WITCH and THE LIGHTHOUSE), is a spirited throwback to the Viking epics of old. I’m referring not to wimpy Hollyweird fare like THE VIKINGS or THE LONG SHIPS, but to tougher and more gut-level Icelandic films WHEN THE RAVEN FLIES/HRAFNINN FLYGUR and BEOWULF AND GRENDEL (and also John Milius’ CONAN THE BARBARIAN, which Eggers admits he’s viewed “too many times”). The film is steeped in brutality and arcane rituals, which explains why it wasn’t successful with mainstream audiences—in addition to the fact that, simply, THE NORTHMAN just isn’t very good.
THE NORTHMAN just isn’t very good.
It commences with the Icelandic King Aurvandill (Ethan Hawke) returning from battle overseas and getting killed in a raid by his asshole brother Fjölnir (Claes Bang), who then runs off with Queen Gudrún (Nicole Kidman). Aurvandill and Gudrún’s son Prince Amleth (Alexander Skarsgård) witnesses the bruhaha and runs off, ending up a “berserker” (or armor-free Norse warrior who wears a coat made of bears’ skin) in the employ of a Viking band. Following an encounter with a sorceress (Björk) who predicts that he’ll enact revenge upon Fjölnir, Amleth stows away aboard a slave ship; there he meets the seductive blond Olga (Anya Taylor-Joy), a self-proclaimed sorceress who provides the requisite love interest.
The ship deposits them at Fjölnir’s farm, where Amleth gets ahold of a magic sword and deepens his bond with Olga. He also meets Queen Gudrún—his mother—who tries to seduce him. Amleth reacts by impaling Fjölnir’s adult son Thorir with the magic sword. Next he cuts ties with Olga, who he predicts will birth Amleth-sired twins, and kills several of Fjölnir’s men, precipitating a final confrontation with Fjölnir himself (I think you can guess who wins).
Where does this film go wrong? First, the story, which as scripted by Eggers and the Icelandic novelist Sjón is steeped in Norse mythology (including the “Legend of Amleth,” which reportedly inspired HAMLET). Many mythological touchstones are evident, including a magic sword and overall atmosphere of sorcery and the supernatural, yet the revenge-fueled narrative is painfully simplistic. Such simplicity was fine, and even laudable, when used in Northern mythology-based films like the Norwegian PATHINDER (1987) and the Icelandic SOLEY (1982), but not in THE NORTHMAN’s epic two-hour plus canvas.
Another problem is with how the film is visualized. The lengthy takes and intricate camerawork (which can be summed up as show-offy) are impressive, but seem inappropriate to the gritty subject matter. Furthermore, Eggers, like many modern filmmakers, relies too heavily on CGI, particularly in the overlit “night” scenes (I often wonder why moviemakers bother using flesh and blood actors amid so much obvious fakery).
Furthermore, Eggers, like many modern filmmakers, relies too heavily on CGI, particularly in the overlit “night” scenes…
PATHFINDER and SOLEY, films in which desolate top-of-the-Earth landscapes assumed the status of characters in their own right, aptly demonstrate where THE NORTHMAN goes wrong. Quite simply, it never feels very authentic, and given that authenticity appears to have been one of Eggers’ major concerns, that’s a rather pressing flaw.
Vital Statistics
THE NORTHMAN
Regency Enterprises/Focus Features
Director: Robert Eggers
Producers: Mark Huffam, Lars Knudsen, Robert Eggers, Alexander Skarsgård, Arnon Milchan
Screenplay: Sjón, Robert Eggers
Cinematography: Jarin Blaschke
Editing: Louise Ford
Cast: Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe, Gustav Lindh, Elliott Rose, Phill Martin, Eldar Skar, Olwen Fouéré, Edgar Abram, Jack Gassmann, Ingvar Sigurdsson, Oscar Novak, Jack Walsh, Ian Whyte, Katie Pattinson, Andrea O’Neill, Rebecca Ineson, Kate Dickie, Ísadóra Bjarkardóttir Barney