The Northman

24 Apr 2022 Leave a comment

by Debra Manskey in Movie Review, Writing Tags: , , , , , , , , , , , , , , ,

The Northman 2022

Directed by Robert Eggers. Screenplay by Robert Eggers and Sjon.

I saw The Northman in its opening weekend at a fairly well attended screening at The State, and from the opening scenes (unlike my last cinema outing) you could’ve heard pin drop. This chaotic and extremely bloody film is loosely based on the saga of Amleth, (also the inspiration for Shakespeare’s Hamlet) which forms part of the ‘Gesta Danorum’ or ‘History of the Danes’ from the 12th century.

Here, Eggers has teamed with Icelandic writer Sjon, who also wrote the screenplay for the much lauded Lamb (2021). The result is a mesmerising fever dream of epic proportions. Featuring Alexander Skarsgård, Anya Taylor-Joy, Claes Bang, Nicole Kidman and Ethan Hawke, this boasts a great supporting cast, including Willem Dafoe, Ingvar Sigurdsson and the wonderful Björk. The production was one of many delayed by Covid, but I think in this case, it has worked in favour of The Northman, with the end result a very polished production.

There are many, MANY fight sequences and they’re excellently choreographed by C C Smiff and shot by cinematographer Jarin Blaschke, a constant collaborator on all Eggers’ features. The framing throughout is superb but one scene in particular has stayed with me, a beserker raid on a village that contains a lengthy tracking shot through a village. Filmed in one take, it is wonderfully balletic as well as incredibly bloody. All praise too for stunt coordinator Jòn Vidar Ambórsson and his team, who really made me wince and occasionally, gasp for breath! The original soundtrack by Robin Carolan and Sebastian Gainsborough is perfect – front and centre when required and unobtrusive for the remainder. Similarly, there’s been a lot of work poured into costuming and historical accuracy, right down to a valkyrie with dental adornments and a he-witch in women’s clothing – real practices in Iron Age Viking culture.

Having a much bigger budget for this third feature has also opened up new horizons (literally) for Eggers. After the intentionally stifling feel of the New England forest (and Thomasin’s tiny family cabin) in The Witch (2015) and the similarly claustrophobic feel of The Lighthouse (2019), the broad horizons and multiple locations of The Northman give an appropriate sweeping, epic feel to this saga of vengeance and love. It fleetingly draws a shade of grey over Amleth’s quest (a thread that could’ve been pulled a little more I feel) but it remains a top class epic revenge saga.

If like me, you’re a fan of Eggers’ brand of visceral dark horror (yes, it is a horror movie), I’m sure you’ll enjoy this and, like his previous films, I’m sure this will stand repeated rewatching. But be aware, it isn’t for the squeamish or faint hearted. The Northman is currently in wide release globally and I suggest seeing it on the biggest screen possible. Very highly recommended.

Last Night in Soho

21 Nov 2021 Leave a comment

by Debra Manskey in Movie Review, Writing Tags: , , , , , , , ,

Last Night in Soho (2021)
Directed by Edgar Wright. Screenplay by Krysty Wilson-Cairns & Edgar Wright.

I’m going to fess up at the start that I’m a big fan of Edgar Wright’s work all the way back to Spaced (1999-2001). While I really like Scott Pilgrim Versus the World (2010), Hot Fuzz (2007) and Shaun of the Dead (2004) from the Cornetto Trilogy remain two of my mainstay “comfort” films and Baby Driver (2017) is also a firm favourite. I think World’s End (2013) remains the only disappointment for me, but I’m well overdue to rewatch it!

A lot of people don’t like his “smash cut” style using very quick image clips, accompanied by foley sound &/or music, finding it annoying or distracting. Admittedly, it does take a certain amount of concentration, but in many ways it overtook the classical montage as an effective means of enhancing story and moving the audience down particular narrative pathways without taking loads of in-film time.

In Last Night in Soho however, I think Wright and his team have moved beyond the smash cut into something far more complicated and cinematic. There’s a film technique called the Texas (or Cowboy) Switch, (another trick Wright has used in previous films) and in first act this is pushed to the limit with quite astonishing results. The sound and visual design are stunning throughout but scenes in the first act are aurally and visually superb, beautifully choreographed, performed and shot.

The cast are uniformly excellent, and include 60s icons Rita Tushingham, Terrence Stamp and the late Diana Rigg in her last film role. Younger talent include Anya Taylor-Joy as the drop-dead gorgeous Sandie, Matt Smith as the deliciously lecherous Jack and Michael Ajao as John, but for me it’s Thomasin McKenzie who provides the glue that holds the film together. Her portrayal of fashion design student Ellie is heartbreakingly vulnerable and feisty in equal measure.

As with most of my reviews, I’m not going to give any spoilers but Last Night in Soho explores some quite serious horror themes, undiluted by humour as in Shaun of the Dead or Hot Fuzz but (as usual in Wright’s films) underpinned by a killer soundtrack. It is by no means a perfect film (I found the second act struggled to maintain momentum) but this is the work of a mature filmmaker. Here, Wright has moved way beyond the quirky smash cut and quick one-liner and made a really interesting horror movie, tinged with pathos and mystery.

Like all of Wright’s films, it’s cleverly made, has a great script and pays homage to both London and the 1960s – and it’s well worth seeing!