Tag Archives: Bjork

CINEMA REVIEW: THE NORTHMAN (2022)

CINEMA REVIEW: THE NORTHMAN (2022)

Directed by  Robert Eggers

Written by: Sjón Eggers & Robert Eggers

Based on: The Legend of Amleth by Saxo Grammaticus

Produced by: Mark Huffam, Lars Knudsen, Robert Eggers, Alexander Skarsgård, Arnon Milchan

Cast: Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe, etc.

Cinematography    Jarin Blaschke

*** MAY CONTAIN SPOILERS ***



Robert Eggers is a formidable cinematic talent. His dark visions of folklore and historical fable are steeped in impressive research and a striking attention to detail within his work. Artistically and thematically speaking, Eggers is a major talent, however, one could argue his narratives deny clarity preferring hazy ambiguity. His debut film The Witch (2015) is an arthouse classic, but I just did not connect with the characters, despite the filthy realistic strangeness. His follow-up, The Lighthouse (2019), is a claustrophobic, black-hearted and dirty descent into a watery hell. Both are bravura low-budget films which created two distinct periods. In both films you can almost feel the plague and scurvy in your mouth, presented as they are with such earthy authenticity.

Thus, unsurprisingly, Robert Eggers latest film is NOT a romantic comedy. The Northman (2022) is another obsessively researched and realised historical drama. But because of the reported $70 million budget, his vision of Vikings and blood and revenge and muscle and familial treason and murder screams epic, more epic and even more EPIC! Eggers script and story is inspired by the historical myth, The Legend of Amleth, a narrative which in turn is said to have influenced none other than the quite well known play, Hamlet. Here Eggers has a solid structure for the thunderous battles and mystical manifestations on show. Our hero, Amleth (Alexander Skarsgård), finds his father, the King (Ethan Hawke) murdered by his uncle (Claes Bang), while he is a boy. Fleeing his village he grows into a scary, ripped and roaring Viking warrior who has never even seen a carbohydrate. A hunger for bread and a desire for revenge on his uncle propels the story powerfully. Intense Amleth must locate his kidnapped mother (Nicole Kidman) and smash the man who did his family wrong.



Eggers is a brilliant film director. In Alexander Skarsgård he also has a battering ram of a physical specimen leading the charge from deathly pillage to bloody battle to fiery hand-to-combat with impressive purpose and power. Amidst the vengeance-fuelled fight sequences and Amleth’s confrontations with the seers and magicians of the land, his journey also encompasses love and marriage to Olga of the Birch Forest, a Slavic sorceress (Anya Taylor-Joy). While Skarsgård’s character is more muscle than charisma, Taylor-Joy breathes ethereal and sensual life into the middle act. Their collaboration battling against enforced slavery gives us something to root for above the familiar revenge plot. Having said that, Amleth is not the easiest of characters to warm to. Despite Eggers genius and Skarsgård’s brutalism I wondered if I really cared about his quest.

I would argue that this story was done far more successfully from an emotional perspective by Ridley Scott’s awesome Roman epic, Gladiator (2000). Russell Crowe was just phenomenal as Maximus and his performance was one of magnetic emotion and charismatic depth. That film had amazing action married to integral character development. However, there is a violent momentum to The Northman (2022), with Amleth’s quest charging like a juggernaut toward the jugular of his foes. Eggers’ image and colour system of Viking costumes, iconography, weaponry, plus human, godly and ungodly beings provide the depth when the characterisation feels thin. And wow, does he know how to stage a battle. Bones crunch, teeth crack, blood bursts and weapons sever, scorch and devastate. As the fire burns in Amleth’s heart and across the landscape, The Northman (2022) rages from the cinema screen with dominant visual ascendancy.

Mark: 8 out of 11


CLASSIC FILM REVIEW: DANCER IN THE DARK (2000)

CLASSIC FILM REVIEW: DANCER IN THE DARK (2000)

Directed by: Lars von Trier

Produced by: Peter Aalbæk Jensen, Vibeke Windeløv

Written by: Lars von Trier

Cast: Björk, Catherine Deneuve, David Morse, Peter Stormare, Joel Grey

Music by: Björk

Cinematography: Robby Müller

Edited by: François Gédigier, Molly Marlene Stensgård

***MAY CONTAIN SPOILERS***



Rather incredibly, until very recently, I had never seen DANCER IN THE DARK (2000). However, it has quickly gone up the ranks in my mind as one of the best musical films I have ever seen. Having given it a lot of thought, it was difficult to place my review of Lars Von Trier’s eccentric, magical and moving tragedy. I could have reviewed it as a cult or under-rated classic film, but it was too high profile really; AND it won the Palm D’Or at Cannes. Thus, I decided, because it is such a compelling story and told in a magnetically creative style it definitely qualifies as a classic film.

Set in Washington State, circa 1964, the story centres on the life of Selena Ježková (Bjork), a Czech immigrant, who works in a factory supporting herself and her teenage son, Jean. She is good friends with co-worker Kathy (Catherine Deneuve), and has a good relationship with her landlord, a police officer called Bill (David Morse), and his wife, Linda (Cara Seymour). Selena is also romantically pursued by Jeff (Peter Stormare). Yet despite him being a pleasant and easy-going guy she prefers to be just friends. Selena is an admirable character because she works round-the-clock with at least two jobs, striving to make ends meet. But she also hides a secret. She is, in fact, going blind. Kathy helps cover for her where she can at the factory, however, the condition is irreversible. Selena is extraordinarily brave, but foolhardy too. Her condition puts herself and factory productivity at risk. Yet, this is merely a suggestion of the drama and tragedy which later befalls her. Because someone close to her will betray a trust, setting in motion a series of extremely depressing eventualities.



In order to escape the trials of her everyday existence, Selena often daydreams in song and dance form. These fantasies are further contextualised by Selena and Kathy taking part in a town production of THE SOUND OF MUSIC, plus their visits to the cinema to watch Hollywood musicals. Von Trier is careful though to establish verisimilitude and plausible reality prior to the first musical number. Even so, it is initially extremely jarring when the song begins. Nonetheless, the power of surprise provides an electrical surge to the narrative and Selena’s characterisation. The first number set in the factory finds the mechanical sounds of the machinery providing a metronomic rhythm to the song and dance routine. Furthermore, songs such as, I’ve Seen It All (with the sequence set on a locomotive), and Smith and Wesson link Selena’s character to metal, machines and American industrialisation. Essentially, Selena’s experiences as a working class immigrant find her attempting to escape via song, but being trapped by American machines and later on in the film, their justice system too.

Filmed on digital cameras the presentation is arguably inspired somewhat by Von Trier’s established Dogme 95 style. In terms of content, DANCER IN THE DARK (2000), combines elements of melodrama and film noir reminiscent of films by Douglas Sirk. Such thematic and visual cues are then filtered through a meta-textual inversion of the Hollywood musical. While the classical musical is all about joy, love, family, companionship, song and performance, Von Trier effectively represents these genre tropes, but twists them into calamitous trials and tribulations for Selena. I for one felt such pain, regret and sympathy for her character. Indeed, Bjork, who had never acted before and has rarely acted since, gives an incredibly moving and soulful performance as the dedicated mother only trying to do her best for her son. Similarly, the songs she co-wrote with Mark Bell, Sjón Sigurdsson and Lars von Trier, sparkle and spike and tug at the heartstrings passionately.

Lars Von Trier is a divisive filmmaker and personality. He has always sailed close to the wind in regard to his challenging filmmaking style and content, as well as causing dissension over the years with his perceived outrageous comments. Moreover, Bjork herself spoke openly about a “Danish filmmaker” who oppressed and harassed her persistently on set. One must deduce that this indeed was Von Trier, thus I must respect and sympathise with the anguish she felt while filming, DANCER IN THE DARK (2000). Lastly, reviews of the film at the time were equally dichotomous. Peter Bradshaw of The Guardian dubbed it the: “most shallow and crudely manipulative film of 2000. . . and one of the worst films, one of the worst artworks and perhaps one of the worst things in the history of the world.” Yet, Roger Ebert of the Chicago Sun-Times stated: “It smashes down the walls of habit that surround so many movies. It returns to the wellsprings. It is a bold, reckless gesture.” Personally, I am with Roger Ebert, as I found the film to be one of Lars Von Trier’s most emotionally moving, stylistically daring and human dramas.