A fairy tale of bleak epic proportions: Northman



Daisy Cox suggests that The Northman is a dark twist on the fantasy genrewww.freeimages.com with permission

When someone says the words Vikings period drama What do you think of? Perhaps, if you’re anything like me, something along the lines of what happened for two to three hours across many Scandinavian landscapes, punctuated by an occasional screaming naked man trotting the incredibly bloody snowy tundra to their certain doom. With this in mind, imagine me walking to the cinema on a Friday night, knowing nothing about the movie other than the above three words. I didn’t have much hope Northmanbeing someone who rarely gets along with time pieces, as well as preferring films at the shorter end of the cinematic spectrum.

“I became increasingly invested in the film’s dark fabric of bloodstained revenge”

However, what caught my initial interest was the involvement of Robert Eggers, the film’s director. Admittedly, I wasn’t one of the people who saw beacon As a particularly pioneer, I didn’t have a particularly strong reaction to his debut Fitch – Yet, after watching Eggers’ first few films, there is always an undeniable flash of brilliance in his work, which never fully pays off. Take the last act that sweeps beacon – that drives you to a shivering wreck – or the astonishing accumulation of tension that materializes in it Fitch. After both films, I always felt there was something real bound to the satire lurking beneath a more elegant surface. Eggers is the director who shows amazing potential in his works; But something (which, for me personally, is usually dialogue) always brings them down really higher. So, albeit conservatively, I was definitely excited to see his latest show Northman.

The film is a psychological drama about the nature of male aggression, and how ambition can distort and shape the individual.

Little did I know that in a little less than two hours, I’d been sitting up with my knees on my chin, my legs grabbing my chest while I watched the last wonderful act of Northman. I can really say I’ve never been amazed by the last 30 minutes of any movie I’ve seen in the past 10 years – with every bloody sword strike that panted, with every scream I leapt, and with every great musical crack (Robyn Carolan and Sebastian Gainsborough have made a great soundtrack) I became increasingly invested in the film’s dark fabric of bloodstained revenge. Although it is a cliché to say, NorthmanAt its core, it is a fictional story of grim, epic proportions. The first law lays down a basic premise for revenge; We follow the journey of the deposed Prince Amelith (Alexander Skarsgård) as he slashes and slashes his way through countless enemies – whether they deserve their fate or not – to achieve his exact place on the “Kings Tree”, as well as a place in the mythical realm of Valhalla. So far, so good.

NorthmanAt its core, it is a fairy tale of dark mythical proportions.”

But what I didn’t expect is the beautiful way this movie overturns your expectations. This is accomplished primarily through a combination of supernatural elements, which are also notably found in Eggers’ previous films – becoming to some extent a staple in his life. There are also constant twists of the film’s zigzag plot, which catapults the audience on a stormy adventure deep into the dark underworld of Viking society in AD 800. The film is a psychological drama about the nature of male aggression, and how ambition can skew and polish an individual into something beyond any realization of what they were before. All the while, we see a once-gullible Amalth transform into a bloody, zombie beast who embarks on this supernatural quest. It is amazing to see in the hands of Egger, who peels off this barbarian shell and allows the audience to see the human soul lost under the blood and dirt.

Skarsgård’s performance is particularly remarkable, as he balances the pure aggression and bloodlust that motivates Amleth’s ambitions with the more vulnerable core of doubt and fear that underlies his journey since the beginning of the film. However, in contrast to the role of Skarsgård, both Claes Pang and Nicole Kidman who shine in equal measure. Both play gorgeous roles layered within the Icelandic backdrop of the film. Willem Dafoe’s grotesque performance, as seer and clown Heymer, was a treasure worth watching. Dafoe and Bang, respectively, carry the first and second acts of the film. They both work to lead the protagonist down a rabbit hole of vengeance, guiding the audience’s expectations of what the grim prophecy will happen next.

Although there were certainly elements of the film that didn’t work nearly as well as these four central performances—such as the episodic dialogue outlines (which, admittedly, were less present here than in Iger’s earlier works)—as well as the slower performance of parts of the time. play the movie for two hours, Northman It’s really a great thing you see in modern cinema. A darkly self-sufficient, supernatural journey of revenge that, in addition to leaving blood scattered throughout the cinema, also speaks of a director who has truly become a master of his craft.

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