The first signal that not everybody in Robert Eggers’ Tenth-century Viking revenge story “The Northman” has their priorities solely straight comes early within the movie, when the Viking king Aurvandil (Ethan Hawke) returns house to the North Atlantic kingdom of Hrafnsey after a yr of combating abroad.
After trudging up on horseback to the snowy cliffside village, Aurvandil’s queen, Gudrún (Nicole Kidman), greets him warmly and, after a hug for his or her son, Amleth (Oscar Novak), urges him to mattress together with her. Aurvandil, although, says he has one thing extra urgent to take care of. Rather than be a part of his spouse, he takes Amleth to scurry round a fiery cave on all fours, half-naked and barking, whereas chanting manly oaths of honor with the court docket idiot (Willem Dafoe).
Something, you may say, is rotten in Hrafnsey — even when we’ve the sense that such rituals are the lifeblood of this tradition.
It rapidly turns for the more serious. The brother of Aurvandil, Fjölnir (Claes Bang), cuts the throat of the king, assumes management and drags Gudrún off on his shoulders to take as his spouse. Young Amleth — “just a puppy,” his mother had known as him — flees in a rowboat on an empty sea, vowing his revenge.
Where are we, precisely? Smack in the course of the Scandinavian legend that impressed Shakespeare’s “Hamlet.“ But in this Viking ur-”Hamlet“ (Eggers penned the script with Icelandic poet Sjón) there’s no existential hand-wringing for Amleth over duty and fate. He lives for vengeance. When we next see him, he’s a ferocious and muscle-bound marauder — “a beast, cloaked in man-flesh” — who would snap most stage-bound Hamlets like a twig. Amleth (a bulked up Alexander Skarsgård) is much less prone to soliloquize with a cranium than sever one from somebody’s physique.
Once he’s had his fill doing imply Viking stuff (there’s a superbly and brutally staged raid of a Slavic village), Amleth manufacturers himself a slave and slips onto a ship headed for Iceland, the place Fjölnir has moved his kingdom to a verdant grassy hillside. Among the employees there may be Anya Taylor-Joy, a veteran of “The Witch.” With justice tantalizing shut, Amleth takes up arms towards a sea of troubles.
There’s nice methodology however not sufficient insanity in “The Northman,“ Eggers’ third and easily most ambitious film. With historical rigor and aged atmospheres, Eggers has already established himself as one of his generation’s most distinctive voices. His first film, 2015’s “The Witch,” was set amongst Puritan settlers in 1630s New England. His 2019 movie “The Lighthouse” starred Dafoe and Robert Pattinson as mad lighthouse keepers off the Northeast coast within the Nineties. All three movies not solely take their historical past severely, however burrow into bygone — or possibly not so bygone — nightmares. As is incanted within the opening of “The Northman,” they “summon the shadows of ages past.”
The latest development towards folklore in movie can, in lesser films, look like the cinema model of a paleo eating regimen. But Eggers’ movies have carried the efficiency of myths resurrected and reanimated, and in doing so have unearthed wealthy new territory. “The Northman,” with a reported finances north of $70 million, is an even bigger canvas and extra archetypal. With sweeping Scandinavian vistas and a finale set amongst rivers of burning lava atop an ash-spewing volcano, “The Northman” is solid in a powerfully primal hearth.
It is, although a lean story, with not as a lot meat on the bone as its ambition could name for. The mythic simplicity is a part of the purpose of “The Northman,“ but the movie’s single-minded protagonist and its elemental conflicts verge closer to “Conan the Barbarian” territory than maybe is right. Eggers’ movie is just fitfully enchanting and squanders its imply momentum. Once Amleth returns house, he bides his time for the precise second, and the film appears to be filling time with supernatural segues and comically grotesque killings. For the primary time, it seems like Eggers is counting on pagan pageant greater than psychology to drive the film, and the result’s a seance that doesn’t fairly spellbind, regardless of a honest effort to.
This may very well be chalked as much as the dictates of an even bigger finances manufacturing and the necessity to attain a wider viewers, or an intuition of the flicks that appears to rely on howling, barking and shouting to know one thing primal that it might probably’t fairly summon. The scenes with Amleth’s mom, with a fiery Kidman, maybe comes too late in a movie that, after an extended journey, begins to extra dramatically tug on the masculine delusion it’s predicated on. Amleth’s vows aren’t an oath however a curse, thus proving one other age-old adage: Never belief Willem Dafoe.
“The Northman,” a Focus Features launch in theaters on Friday, is rated R by the Motion Picture Association of America for robust bloody violence, some sexual content material and nudity. Running time: 137 minutes. Two and a half stars out of 4.
Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP
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