The young Viking prince Amleth (Alexander Skarsgård) witnesses the murder of his father Aurvandil (Ethan Hawke) and the enslavement of his mother Gudrún (Nicole Kidman). Years later, driven by vengeance, he returns. He encounters Olga (Anya Taylor Joy), a resourceful slave, and begins to perceive complexities beyond his initial quest to avenge his father’s death at the hands of his uncle Fjölnir (Claes Bang). However, the truth proves to be more intricate than he anticipated.
Director Robert Eggers is recognized for his distinctive visual style and narrative approach. His previous film, the thriller The Lighthouse, exemplifies both his strengths and weaknesses. While his visual techniques are compelling, the underlying narrative integrity is paramount. In my opinion, The Lighthouse faltered in this regard.
The Northman shares a similar issue with The Lighthouse: visual presentation often takes precedence over logical storytelling. Certain sequences, while undeniably stylish, suffer from questionable logic. For instance, Amleth’s berserk rampage through a village prioritizes visual impact at the expense of a coherent and engaging narrative. The Northman is characterized by an abundance of mud, a pervasive sense of unease, copious amounts of blood, and an overreliance on darkness, bordering on the comical.
The film’s pervasive darkness extends beyond its atmosphere to its cinematography. Even daytime scenes are imbued with a sense of gloom. Night scenes are rendered almost entirely in black and white, further emphasizing the intended feeling of constant anxiety. The Northman retells a classic revenge story, previously interpreted by figures ranging from William Shakespeare to Disney. Given the familiarity of the narrative, the runtime of nearly two and a half hours feels excessive. The plot becomes repetitive, and the predictable conclusion draws near without significant surprises.
However, the film does offer some redeeming qualities. Alexander Skarsgård delivers a compelling performance, carrying the film effectively. His physical transformation and nuanced portrayal of the character are noteworthy. A minor point of confusion arises regarding the character’s age relative to Skarsgård’s own. If the character’s age aligns with Alexander’s (46), then Amleth would have been away from the farm for over thirty years, while other characters appear not to have aged at all (suggesting Amleth is intended to be younger).
As a Viking Age enthusiast currently collaborating with Faravid Svalfors af Ugglas on a Viking film, I was pleased to see the inclusion of the Viking game Knattleikir. The “knatten” (ball) and the game’s inherent brutality are depicted, although perhaps exaggeratedly. To my knowledge, this marks the first cinematic depiction of this game. However, several of the film’s rituals appear to be fictional, lacking historical support.
The UHD edition boasts flawless 2160p picture quality with a high bitrate (144 Mbit/s) and HDR. Black levels are excellent, free of artifacts. The color palette is intentionally restrained, reflecting the film’s visual design. The Dolby Atmos sound delivers deep bass and crisp dialogue clarity. The supplementary materials are comprehensive and informative, offering concise yet insightful documentaries.
In conclusion, while The Northman impresses visually, its familiar storyline struggles to maintain engagement throughout its duration. The film’s length and oppressive darkness ultimately detract from the experience. The commendable UHD edition partially compensates for these shortcomings, but not sufficiently to warrant a strong recommendation.
SF Studios provided review copies for this evaluation. The provision of materials does not influence our editorial independence. Our reviews are conducted with a focus on providing unbiased information to readers and consumers.
