Is it worth seeing? The Northman

It's metal as hell so bring the whole family as long as the whole family is punk rock...

When asked recently if he wanted to make a movie set in the modern day, Robert Eggers — whose new movie the Northman opened on April 22nd — responded with a simple “No, thank you.” I must say, it speaks highly (if not a bit strangely) of Eggers and his filmography thus far that I have absolutely no issue with that statement.

His latest picture is an epic fantasy loosely adapted from the same material as Shakespeare’s Hamlet, which stars Alexander Skarsgard as a vengeful norseman hell bent on avenging his his father’s murder by his uncle. But this isn’t a plot-heavy movie. You should not go see the Northman for that reason.

But by god, you should see it. In a theater that serves psychedelic mushrooms if possible. So maybe go to Oregon?

If you told me that Alexander Skarsgard was playing Andy Serkis, playing Chimp-President Caeser from the Planet of the Apes trilogy, playing a viking warrior, I would not be shocked. His body is alarming in the very best way. In an industry dominated by superhero films which must include their obligatory shirtless ‘movie star got in crazy shape for this movie’ shot, Skarsgard’s massive frame is truly in service of the movie.

He is Amleth, son of King Aurvandil War-Raven (a wonderfully feral Ethan Hawke) and Queen Gudrun (a devious Nicole Kidman) — and he looks like a bag of ropes. But before he hit ye olde gym, as a boy he watched his father get murdered by his uncle Fjolnir (Claes Bang). While he escapes death by rowing a paddle boat into the harsh open ocean, he begin to chant the mantra that will consume him for the remainder of the film: “I will avenge you father. I will save you mother. I will kill you Fjolnir.”

Years later, having practically forgotten his destiny, his spark for vengeance is rekindled when he hears that his Uncle’s rule was unsuccessful, and he was subsequently banished to Iceland. Thus, King Aurvandil was murdered for nothing.

Crucially, since his father’s death, Amleth has become a marauding viking raider — a true harbinger of death and suffering. He and his fellow warriors don the skin of wolves and bellow, howl, and snarl as they kill, pillage, and take women and children for slaves.

Yet, there is a still a glimmer of humanity and hope about Skarsgard’s subtly layered performance. When Amleth hears that the slaves he has just captured are to be shipped to Fjolnir’s new settlement, he is reminded of his mantra. Masquerading as one of them, he makes his way to Iceland — bonding with fellow slave Olga (Anya Taylor-Joy) on the way.

Now, while this movie certainly delivers on the promise of its bloody premise and then some, this is not where the movie truly sings. Robert Eggers has made a career of breathing new life into old, nigh ancient material. In the hands of a less interesting director the Northman could have been a perfectly watchable adventure/fantasy film. Instead, what audiences will get (or not as the case may be) is a challenge.

From its first act, the Northman is begging its audience to profoundly dislike its lead character. But Eggers deftly negotiates the inescapability of death and brutality of this time period, and Skarsgard effectively communicates the true nature of Amleth’s soul.

The film’s quieter moments are those scenes shared by Taylor-Joy and Skarsgard, whose performances compliment each other tremendously. It is only filtered through Olga’s perception that we begin to fully connect with Amleth. Where there was truly only a hulking bear, there is suddenly a tremendously flawed man, scarred by a life which solely consisted of violence, and animalistic urges.

If there is one thing that elevates the Northman from good movie to truly great, its that idea: A man born into, and raised through violence can only beget more violence. This is Egger’s literal interpretation of the viking’s cultural concept of fate — if to die in battle spells glory in Valhalla, then one might spend the entirety of their lives looking to do just that.

As Amleth becomes more human, we wonder whether or not his fate has been sealed by his vow, or if he can find an existence outside of death.

Sounds nice and light, no?

Beyond the film’s philosophy, its photography is superb, the action sequences are staged to perfection, and the score is truly a spectacle in and of itself.

This one isn’t for the faint of heart, and has moments of very strange intensity. Trust me though, it sticks the landing. GO SEE THE NORTHMAN!