The Northman (2022) Review

“Now remember for whom you shed your last teardrop.”

Within a span of seven years, Robert Eggers has crafted three viscerally stunning works of art; each stylistically unique yet retaining that impeccable level of craftsmanship audiences have come to expect from the director. Though The Northman is, by far, his boldest and largest project to date – Eggers has, mostly, successfully transitioned into a large-scale director with ease. In recent interviews before the release, Eggers shared that the studio had to force changes with the dialogue/editing after test screenings “confused audiences.” And though the ADR is jarringly obvious at times and some edited sequences seem like a far cry from his “slow-burn” tendencies – the film still manages to be a gripping psychedelic revenge story that transports viewers into a brutally immersive world. 

Even based off the trailers – it’s apparent the premise is fairly simple. In AD 895 – Prince Amleth witnesses his father, King Aurvandill (Ethan Hawke), betrayed and murdered by his own brother, Fjölnir. Amleth manages to escape and incessantly chants to himself “Avenge Father. Rescue Mother. Kill Fjölnir.” Years later – we jump to an all-grown Amleth (Alexander Skarsgard), raised by VIkings as a Berserker, on a bloodbath of a raid in the land of Rus. He overhears that Fjölnir has been overthrown and now resides in Iceland; which yet again prompts the seed of revenge. So he sneaks aboard a slave ship headed to Fjölnir’s settlement – along with others, including a self-proclaimed sorceress, Olga (Anya Taylor Joy). Once there in Fjölnir’s camp, it’s apparent Amleth is unrecognizable so he and Olga, who is keen on assisting him, plot the downfall of Fjölnir and his spawn. Though the story has a couple twists and turns – it still is fairly simple; yet elevated to greatness thanks Eggers’ natural eye for artistic spectacle. Some of my favorite moments in the film are the psychedelia-induced portions delved in Norse mythology; often finding myself lost in a state of delirious haze much like Amleth himself.

The entire cast is tremendous. Hawke, Kidman, and Skarsgard all resonate perfectly with Eggers’ manic vision; though this is undeniably Alexander Skarsgard’s film. Dafoe and Taylor-Joy return and are in-tune as ever with Eggers; though I wish the former had a larger role this time around. Skarsgard’s brutish performance is one to be reckoned with and, as impressive as it is, I fell in love with his character because of the moments of tenderness in between. Behind Amleth’s rageful persona – there’s still a traumatized child within him and Skarsgard switches between the two with such grace. Coupled with Jarin Blaschke’s cinematography – the emotions of everyone are amplified in such a hauntingly surreal manner, it feels as if the film doesn’t only take place in the physical world but in the minds of the characters as well. 

This film is an experience through and through. Where other directors may have failed to strike a fine balance between “large-scale epic” and personal expression – Eggers walks that line like a professional. Amleth’s psychological state slowly oozes onscreen as the film progresses; with stakes consistently ramping up till the bombastic finale; a barenaked swordfight inside an erupting volcano. So even with all the studio interference, Eggers was successful in making one of the most badass movies of all time. And though this may be Eggers’ most “accessible” film – it still feels more catered to fans of the director himself instead of those seeking a straight-cut revenge story. Because though the premise may be simple – it’s Eggers’ directorial twists and turns that set this heavily apart from the pack. Every set piece is choreographed in such a stylistic manner; every slash and strike feels as if it sends haptic sensations into the audience. Like a slasher with the suture of a Terrence Malick film. The heavy use of practical effects definitely has a key role in this – along with the fact that Eggers truly knows how to direct action; less so an afterthought in the editing room but painstakingly choreographed long before it even makes it there. It makes me reminisce of the days when we could consistently have high-budget original IPs that truly feel as if they come from a singular vision. 

I don’t doubt that many “general audiences” will walk away from The Northman scratching their heads and questioning what they just witnessed. I even heard a few groans and “what was that’s” while leaving my theater but as far as the “contemporary film space” goes – this is one of the most accessible titles in years. I truly believe it will resonate with different kinds of filmgoers alike. It plays into an odd space of film that doesn’t feel too common anymore – leaning more into an arthouse blockbuster of sorts (as derivative as that is). Blade Runner 2049 feels like an oddly apt comparison – though even that has the advantage of being a part of an incredibly popular IP. What Robert Eggers has accomplished here is a cinematic feat that feels like a far cry from what the film industry is willing to produce anymore. And with news of The Northman being a “box office bomb” – it’s tragic to even think that we may get even less of these titles in the future. One thing is for sure though; people won’t stop talking about The Northman for a very long time. And it deserves every bit of praise it gets. 

4/5

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