The Northman

After experiencing The Lighthouse, I was quite worried about The Northman, suspecting Eggers of casting Kidman as a poster attraction, so that the widest possible base, which is not indifferent to her name, would be interested in the film... But everything is different in the end. It's as if I'd forgotten that Kidman has, quite by default, worked with notable directors before, from Kubrick to von Trier. Additionally, for viewers of the Vikings series, The Northman can be a nice tie-in to the broader theme. There is no reason to be afraid or prejudiced; on the contrary, it is advisable to enjoy The Northman on the big screen and let yourself be carried away by Icelandic nature, just like Sjöström once did. (17/05/2022)

The Witch remains my favourite, but I definitely enjoyed The Northman more than the overrated The Lighthouse. In the first half, I believed I would give it a full rating. It’s harsh, stylish and in the raid on the village scene, Alexander Skarsgård is a true “animal”. What I enjoyed the most were the shamanic rituals and the mythical scenes, balancing between hallucination/dream and the supernatural. But in the end, I have to deduct a point for something Eggers tried for the first time in this film, which didn’t convince me much: normal, positive human emotions; love, to be more specific. The Witch and The Lighthouse didn’t have anything positive, but here there’s a rather important story arc (between Skarsgård and Taylor-Joy) built on love, and, in my opinion, it doesn’t work at all. So much so, in fact, that until the last moment I was convinced that the infatuation on one side or the other (or both sides) was just a ruse that would result in some evil twist. (14/04/2022)

The Northman is the kind of film that I'll probably be more disappointed with the more time that passes since I saw it. Robert Eggers has never been a storyteller for me, more a master of atmosphere and sinister impressions. That works best here too, coupled with great pagan music it is a wonderfully meaty ritual in places. Unfortunately, the story isn't helped much by Sjón, who writes scripts as statuesque mythic scenes with no discernible arc or catharsis. The fact that it was made into chapters is pretty weak, it's dramatically underdeveloped and the rich visual mythology is a bit flat at times. The highlight for me is the creation of Kidman, who may have the look of a modern woman, but has all the demons of the North in her eyes. The same goes for Skarsgård. This is what Tarzan was supposed to be like. In a nutshell, I'm in danger of forgetting this film, made just for me, the day after tomorrow. Refn's Viking fetish Valhalla Rising is still stuck in my heart. (13/04/2022)

Fortunately, the big-studio system hasn't ground Robert Eggers down; despite the higher budget he has remained his own, uninhibited and original, although I think that of his three films so far this one is probably the least interesting. The narrative is not exactly flawless, especially in the middle part the story drags a lot, as if it doesn't know which way to go, but thank Odin it catches its breath again with the bloody climax and the final fight is an atmospheric blast. You will also enjoy the unusual insights into the life of the Old Norse, their customs and shamanic practices. The manly Skarsgård impresses with his animalism and muscularity, so his traditional puppy dog look doesn't matter. Nicole Kidman, on the other hand, is a horrible sight when the camera filter isn't mercifully working on her; facial liposuction is evil. Ageing also demands grace. (02/06/2022)