Mythos and their power over us have been in the zeitgeist in the last decade. A glut of superhero films continues to fill multiplexes, our modern equivalent to ancient tales. It is enough to take them for granted as base culture. However, this was not always the case. Equal parts anthropology and religion, these tales passed down were inspiration for many writers going forward. No greater motivation has ignited plots as revenge. And no grander presentation has graced the screen as Robert Eggers’s latest.
The Northman, on its surface, comes off simple and uncomplicated. The first twenty minutes set the stage as King Aurvandil returns from battle to Queen Gudrún and our main character, Prince Amleth. As a boy, his transfixed awe towards his father only serves to set up a drastic fall to come. Amleth witnesses his father’s death and is forced to flee, being betrayed by his uncle Fjölnir.
After a years later title card we find our prince grown. Having become part of a Viking horde, Amleth contributes to pillaging and brutal violence. Rage has overtaken him in the wake of his lost kingdom. In an impressive single take, he waves his axe with carnal zeal. Upon the capture of a village Amleth learns the fates of his uncle and mother, setting out to pose as a slave to infiltrate their camp and take his vengeance.
I must backtrack a bit to talk about the parallels to a certain English play. The 13th century legend sparked Shakespeare into his most celebrated play. Gone here though is the posh prose; Amleth’s mouth is stuffed with guttural howls. Not since Gladiator have we seen such an headstrong lead. And much like Ridley Scott’s masterpiece, the line between hostile reality and ethereal mysticism is paper thin.
Preoccupations in mythology have been a tread weaving together Robert Eggers’s filmography. The last feature The Lighthouse took a two-person psychological thriller; suffusing mermaids, sea shanties, Sisyphus and Prometheus into its framework. His first, The Witch, contained whiffs of Salem. Animals play a part as well; the seagulls of Lighthouse make way for crows here. Norse gods such as Odin and Thor pepper dialogue. Valkyries and other spirit visions haunt our prince.
Epics are made for widescreens. Fjords and green vistas, beautifully photographed, stretch beyond the horizon. Eggers’s long-time collaborator Jarin Blaschke brings grandeur but also intimacy. Bonfires and torches light funerals and battle cries with equal aplomb. His work will, mostly likely, give him his second Oscar nomination if not a win.
Alexander Skarsgård has his emotions laid bare on his gaunt checks and soulful eyes. Amleth is his best role to date. Nicole Kidman has never been as mesmerizing as she has here as the Queen. Running the gambit from loving mother to ambitious bride, she has never been as fiery. Both Anya Taylor-Joy and Willem Defoe return from previous outings with Eggers. Each bring their own energy to supporting roles that add spice to the mix.
With a reported ninety-million-dollar budget, this kind of enthusiastic filmmaking may not be for everyone. A surreal mist permeates each scene; especially a visit from a soothsayer played by Icelandic songstress Bjork. Given extensive use of her homeland, Scandinavian presences only seem fitting. This director has shown a clear understanding that the past has lessons still buried. If you give yourself over to Eggers’s magic, rewards in Valhalla will be in store for you. One of the best films to come out this year, it may not be the happiest but it will be gratifying viewing.
