By Ethan Stinson
Having kicked off his career helming modern horror classics “The Witch” and “The Lighthouse,” director Robert Eggers (“Brothers”) has proven he is one of modern cinema’s premier directors. Transitioning to historical fiction and action for his most recent project, “The Northman,” Eggers has outdone himself once more, showcasing an epic revenge tale filled to the brim with stunning visuals, engrossing action sequences and a rich connection to Norse mythology.
A story derived from Scandinavian legend, “The Northman” follows Amleth (Alexander Skarsgård, “Godzilla vs. Kong”), a Viking prince who returns to his kingdom to avenge the death of his father (Ethan Hawke, “Moon Knight”), which came at the hands of Fjölnir the Brotherless (Claes Bang, “Locked Down”), his power-hungry uncle. The film’s revenge-based premise may ring a bell to those familiar with “Hamlet,” which took inspiration from the original tale of Amleth.
Though the familiar premise comes off as Eggers’ most accessible, one can not help but be entranced by Amleth’s impassioned campaign to avenge his father. Equally tragic and uplifting, the warrior’s quest is motivated by his devotion to family and revenge. The prince also grapples with the idea that fate may not be predetermined. Rather, one’s destiny is decided by whether they choose the path of love and kindness over that of hate and violence.
In an era where action films have dominated the box office, “The Northman” sets itself apart from other films of the type by guiding viewers through its sequences, rather than overwhelming them. A major misstep taken by many blockbusters is the use of rapid cuts when depicting fights; a creative choice which often leads to audience disorientation rather than continued investment. Thankfully, “The Northman” avoids this trapping, instead conveying its battles through tracking shots that smoothly follow the action as it occurs. The scenes’ sense of fluidity and natural movement let viewers feel as though they are also in on the action.
“The Northman’s” impressive visuals are not only limited to its battle scenes. Its extensive use of natural lighting and shadows coveys a cold, grim tone that pairs well with its brutal revenge plot. The occasionally dim or shaded lighting also provides an authentic feel to the film’s ninth century setting, generating a point of view reflective of how its characters would see their own world. Thus, fire proves to be an important element of many shots, providing primary light sources and focal points at times, while also serving as a visual motif which representing Amleth’s burning desire for revenge.
Perhaps the only disappointing aspect of “The Northman” is its underutilization of certain cast members. Stars like Hawke and Willem Dafoe (“Spider-Man: No Way Home”) receive very limited screen time in the film, despite being heavily featured in its trailers and marketing. Even supporting players like Kidman and Anya Taylor-Joy (“Last Night in Soho”) seem to fade in presence throughout the film, despite still receiving more exposure compared to their contemporaries. Though their limited appearance may seem disheartening, it also comes with the benefit of avoiding distraction from Amleth’s story and growth.
With plans to direct a remake of the classic horror film “Nosferatu” as his next film, it seems as though there is nowhere to go but up for Eggers. Having showcased his flexibility as a filmmaker by taking on an entirely new genre with “The Northman,” one could only imagine how he will fare putting his own dark, captivating spin on a pre-established property.
Photo from Focus Features via Youtube
