Honest Feeling for The Northman (2022)
And Why We Don’t Need Films with Great Ideas
You’ve read that right. And before you feel like this article was about to mock one of this year’s greatest films (so far), there’s no intention for me to do so. I was intrigued by The Northman and I love it so much. However, it’s a fact that The Northman’s revenge tale was so simple in its storytelling nature that it was incomparable to a high-intellectual film such as Christopher Nolan’s Inception (2010). (Or to give it a fair comparison, the unique depiction of revenge in Park Chan-wook’s Oldboy (2003) ) It’s unnecessary though, as Robert Eggers’ third feature had any right to be identified as a cult classic in the hopefully following years.
Set in the late 8th century, The Northman tells the story of Amleth, a Viking prince who witnesses the murder of his father by his uncle Fjölnir as a child. Many years later, he sets out on a quest for vengeance that he had vowed since his escape. And… that’s basically it. With this kind of straightforward storyline, anyone could create this revenge tale with lots of violent beating, gory slash and dice that stains in the beards of warriors, that will end up deciding the fate of the kingdom between our protagonist or antagonist. There are, of course, several elements of that, but Eggers take a whole different route and subverts it in an engaging way.
Before we continue, I assume that you come here fully prepared with the film’s knowledge. So if you haven’t watched the film, please do watch it first and come back later to read my opinion.
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The Review
Now for those of you who are still here, I believe you know what I’m referring to. The Northman isn’t a film where the kingdom is used as a storytelling device. Amleth himself never comes back to the kingdom, instead disguising himself as a slave where Fjölnir lives in exile as a farmer in Iceland. It seems like a weakness in the marketing perspective, yet it somehow made the film more epic than it should be because of how Eggers wrote the characters.
The characters here aren’t by any means two-dimensional caricatures like any other revenge film characters. Their goal might be simple, so simple that the vow Amleth had made to himself sticks to the brain of the audience. Not their personality however as they are deeply bound by their thin gray line of moral choices. Amleth himself had a very traumatic past and the decisions he makes are all understandable. But is he really born for vengeance and nothing beyond? Is he really fated to kill his uncle Fjölnir?
This is another aspect that made The Northman so distinct in comparison with other revenge flicks: incorporating its influence on the theme. I’m no Viking expert, yet reading many articles on the internet it seems there’s a consensus between historians of how respectfully accurate Eggers incorporate the Viking era and its Norse mythology. Vikings had regarded fate as the highest power in the universe, believing that no man would ever escape what he was bound for. Even if you don’t believe in this kind of nonsense, the spiritual ceremony scene (led by a bone-chilling performance by Willem Defoe in the most modest screen time) is a great set-up to put the audience in the mood of the era.
The concept of fate brainwashed Amleth’s mind, believing he would kill his brutal uncle. In a specific place, and at a specific time. It might be hard for Amleth, yet it was a big reward for us as we could enjoy the brutal killing in a fashionably sadistic way that satisfies our lust for blood (that’s why the revenge genre is being made by filmmakers right?). Yet in the midst of all of the squirming in gore or laughing in enjoyment of watching others in pain, we’re also invited to be active. Not by predicting what happens next, but rather if all of these decisions are morally necessary especially when Fjölnir isn’t holding the kingdom anymore.
From a filmmaking standpoint, it’s no doubt that Eggers could be hailed as an auteur. The cinematography movement is fluid with lots of smooth long-take and atmospheric color. Even with the sheer brutality, your eyes will rarely look away from the screen. Alongside the eerie sound design and powerfully emotional soundtrack, you’ll find yourselves absorbed into the mind of a maestro. And if that’s not enough, Eggers’s dedication to making everything authentic to the era could make the audience speechless. From the production value of wooden carvings to the Old East Slavic dialogue, you’re not sucked in anymore. You’re in the Viking era.
The cast was also wonderfully picked. Like a dream come true, long-time Viking fan Alexander Skarsgård delivered a menacing performance as Amleth. Anya-Taylor Joy also gave a convincing performance as a doubtable sorceress. Other casts such as Claes Bang, Nicole Kidman, and even Ethan Hawke with a very short screen time gave all of their might, making The Northman a film that should be seen at least once in a lifetime.
Not what to tell, but how to tell
As the end credit rolls, it got me thinking though on what the hell the film industry (especially Hollywood) had become. Granted, since the early age of filmmaking all we demand are spectacles to escape us from the harsh reality of life. As we become more accustomed to the storytelling culture, there seems to be less innovation on how to move the plot forward, bombarding with silly story ideas and illogical plot twists to prove themselves as a “great” filmmaker. While in reality, it just hinders the audience’s enjoyment.
Surely, we’ve seen a lot of vengeance-based theme films beforehand. The Count of Monte Cristo (2002), The Princess Bride (1987), Gladiator (2000), you name it. By the 2010s, when audiences are exhausted with these kinds of stories, there are some filmmakers pushing the boundaries by combining genres and plot twists. Now You See Me (2013) is one of them, which personally led to one of the most confusing plot twists in history. Maybe it’s trying to be original in storytelling, but lies the real problem in execution; something that The Northman did very well to cover its simple story.
From here, I realized that you don’t need to spend your energy on WHAT to tell, but rather HOW to tell. This is what Eggers mastered in most of his films, making a simple story into an interesting experience. Inexperienced filmmakers will complicate the plot by putting on obstacles for the protagonist to face. While a smart director will focus more on how to make the audience feel, creating a more emotional journey as they follow the character.
As we’re through the starting point, it’s time for the filmmaker to ask themselves how to make the audience feel the specific emotion. How does the dialogue make us feel? How do the color and the set design manipulate our feelings? Does the sound match correctly with the emotional undertone? After all, a film should leave an emotional impression as they exit the theater right?
Perhaps this is a lesson for all filmmakers, including myself. A great plot with poor execution made the film intolerable, but an ordinary plot with dedicated execution made a film watchable.
What do you think of The Northman? Do you agree that producers should make more daring films like this? Comment down below!
Thanks for reading~
