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.

Lamb – No Spoilers

24 Oct 2021 1 Comment

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

Lamb (2021)

Directed by Valdimar Jòhannsson
Written by Valdimar Jòhannsson and Sjón

Like many people, I try and avoid movie trailers these days. They’re often made by PR companies without input from the director and can include potential plot/action spoilers. It’s disappointingly common to go into a showing having already seen the best bits! So, on a wet and miserable Saturday afternoon, I caught up with a friend at our local (the State Cinema in North Hobart) and watched Lamb, directed by Valdimar Jòhannsson. All either of us knew about this was Noomi Rapace was top billed, it’s an Icelandic film, and A24 were distributing. And that was enough information for us to have a thoroughly enjoyable cinema experience!

From the opening scene, I found Lamb a wonderfully atmospheric film, sumptuously shot and one of the most original pieces I’ve seen for ages. That said, there’s a timeless, dark undercurrent as the story plays out, suggesting nordic mythology and folk horror. Rapace is excellent as Maria, who with her husband Ingvar (Hilmir Snær Gudnason) farms sheep on an idyllic but very isolated farm. There is an air of magic realism that runs throughout and scant exposition that leaves much up the individual viewer. But these supernatural touches are elegantly juxtaposed by situations and conversations which are very relatable and believable, especially when Ingvar’s brother, Pètur (Björn Hlynur Haraldssen) visits. Also, having spent a lot of time living in relatively remote rural areas, I could relate to the very realistic depictions of farm life, from helping deliver animals to the ubiquitous thermos of hot coffee out in the paddocks.

The minimalist script by Jòhannsson and celebrated Icelandic writer Sjón (former member of The Sugarcubes and Bjork collaborator), marries perfectly with the superb sound design (Björn Viktorsson), unobtrusive original score (Poraninn Gudnason) and the carefully framed cinematography (Eli Arenson) offering touches of John Ford and Hitchcock in scope and intent. This lack of exposition combined with a delicate balance between the natural and supernatural audiovisual elements leaves adequate space where we, as active audience members, can draw our own conclusions.

With its minimal dialogue and haunting visuals, this film is a wonderful lesson in “show, don’t tell” storytelling and while it isn’t a horror movie in the mainstream “splatterfest” mode, I know it won’t be for everyone, no film ever is. For my part, I found it uplifting, genuinely creepy, unbearably sad – and I can’t stop thinking about it.