The Northman – A Brutal but Poetic Tale of Vengeance

WorthAWatch Rating: 10/10

The Northman (Robert Eggers, 2022), Alexander Skarsgård as Amleth

With The Northman, director Robert Eggers has pulled off another Shakespearean masterpiece, but this is his best yet.

“I will avenge you father. I will save you mother. I will kill you Fjölnir.” These three sentences that Amleth (Alexander Skarsgård) repeats are woven into the heart of this story - they are his identity. Set in the North Atlantic and beginning in 895AD, the film follows Amleth and his quest for vengeance in a Viking tale.

After his father (Ethan Hawke) is murdered by his uncle (Claes Bang), Amleth travels from Norway to Iceland, posing as a slave. Intent on getting his revenge and rescuing his mother (Nicole Kidman), he crosses a host of characters and kills his fair share of enemies to try and get closer to his poetic objective. He must choose between “kindness for his kin or hate for his enemies”.

Having previously directed The Witch (2015) and The Lighthouse (2019), The Northman is Eggers’ third major film. It has shown, if the others had not already, that he is one of the most promising filmmakers currently working. The previous two films reconstructed American folklore in a manner rarely seen in cinema, but they were on a smaller scale. The Northman is a much larger project, and with an estimated budget of at least $60 million, it can truly be noticed on screen. What ties these three films together is Eggers’ continual desire to explore the supernatural and its anthropological roots. His new film continues the trend of original films centred around key themes of particular historical periods. Where The Witch was shocking for its bleak horror, and The Lighthouse for its crude nature, The Northman can be characterised for its untainted brutality.

The film is particularly spectacular in its technical display. Shot in a 2.00 : 1 aspect ratio, Jarin Blaschke’s cinematography is - quite literally - breath-taking. A range of filmic methods were employed, including Eggers’ signature close-up shots. These work especially well in this film, allowing for actors such as Skarsgård and Willem Dafoe – who plays a rabidly prophesying character - to work their craft through subtle motions. Long shots are also on display on numerous occasions. The natural beauty of the landscapes and the way in which they were captured is truly special. From the snowy towns in Norway to the grassy hill ranges in Iceland (most of it filmed in Northern Ireland), the scenery is dynamic and utilised to its full extent.

Coupled with the beautiful displays is the score. Robin Carolan and Sebastian Gainsborough’s commanding score captures the authenticity in which The Northman imagines the Viking era. With a thumping, loud musical score continuous for much of the 140-minute runtime, it has a real sense of character to it. It matches the story and era in which the film encapsulates, journeying through Amleth’s quest as if the sounds are urging him on.

Central to what these technical aspects were trying to convey is the theme of rage, as Amleth’s story is based entirely on this. A usually dark colour palette is used to describe this, while the night is a key aspect that brings a realistic dullness to the brutalities on show. The film expects its viewers to not hold these characters to the standard we believe we hold as humans today. It is an unforgiving look into the ruthless nature of the Viking world and legends. Guts are spilled and heads are chopped off, and it is this honest depiction that makes this world particularly believable. This is Eggers’ vision; it feels untainted, and the results show it.

Skarsgård revels in this role of rage. It seems he was born to play Amleth, as through not only dialect but also mannerisms and movement, he brings this character to life. Although numerous, the action scenes are excellent. Rarely have I seen a film that I become so immersed in through these sequences. The fights are stunning and are certainly up there with some of the most jaw-dropping in cinematic history.

The film also showed how well-rounded Anya Taylor-Joy has become in recent years. After superb performances in The Witch and the Netflix series, The Queen’s Gambit (2020), to name a few, she has demonstrated a whole host of capabilities, and this role certainly continues that. She and Skarsgård make for an unexpected, but fantastic, duo in this story.

The Northman is a truly mesmerising tale that will not be forgotten and is easily a contender for film of the year. Its obvious reliance on Viking myths sets it apart from others that have tried to lazily capture the era. Rather than a re-imagining, this film feels more like an imagining; one perhaps, that Vikings themselves would have enjoyed watching, as it does not feel corrupted by modern culture. From the wacky prophetic cave scenes to the brilliant action sequences, Eggers and his crew encapsulate the most dramatic aspects of Viking legends. Its entirely supernatural scenes do not feel out of place at all, and the pacing of the story wraps essences of reality and fiction together perfectly. The thread of fate determines that you must see this film, hopefully on the big screen.