Tag Archives: Robert Eggers

‘What About the Vikings?’

Me playing Viking in Norway, at the Hafrsfjord Festival in 2022, with the president of the Karmoy Viking Club.

The thought has been nagging at me of late that my personal author’s page, www.larswalker.com, hasn’t been updated much over the years, except for announcements of new book releases.

I felt particularly guilty about my “Vikings” page, since it contains an essay on my historical views which – while I haven’t changed those views much – has not kept up with trends in scholarship and popular opinion. I don’t lose much sleep over it, as I’ve always found most trends and popular opinions laughable. Still, I’ve neglected my readers.

So I offer the following update, which I’ll ask my revered webmaster to add to the old one:

WHAT ABOUT VIKINGS?

I included a short essay on the Vikings in this space when this site was first established. But the world moves on, and I find that piece (you can find it below this one) no longer addresses the current situation. My views have changed very little, but I think I need to explain them in a new light.

When I wrote the original essay, back before the turn of the century, the prevailing scholarly view of the Vikings (a view considered “revisionist” at the time) was that the violence of Viking culture had been exaggerated by monkish scribes, “prejudiced” because Vikings kept burning down their homes and enslaving or killing them (which strikes me, personally, as a reasonable excuse for a prejudice). The prevailing view in the late 20th Century was that the Vikings (viewed as a culture, rather than as participants in an activity, which was the original sense of the word) were primarily involved in trade, and that their occasional ventures into raiding (mostly in response to the inflexible attitudes of the vile Christians) were relatively rare and reasonably justified.

I thought this view nonsense. I noted that the purveyors of this theory tended to gloss over the fact that the Vikings’ first and foremost item of trade, at least in the first centuries, was human slaves. Call me old-fashioned, but I don’t consider the slave trade a peaceful occupation.

But the other day I watched, for the second time, Robert Eggers’ 2022 film, “The Northman.” I can only conclude, based on that movie, that I’ve won the “peaceful Vikings” argument completely. Perhaps I’ve won it too well. Eggers’ Viking culture is thoroughly violent and brutal. Force is all that matters there, and the individual must either possess power or submit to it.

This view strikes me as just as unbalanced as the old one. It overlooks (as Prof. Jackson Crawford has noted) the importance in Viking culture of being a “drengr,” a man of honor and character. In the movie, for instance, the ball game of “knattleikr” is played by thralls (slaves), and fatalities are considered trivial, since thralls are cheap (note: they were not cheap). In the Icelandic sagas, however, free men play knattleikr themselves, in order to showcase their courage and skill.

This narrow view also overlooks the Vikings’ democratic tradition (emphasized in Viking Legacy, the book by Torgrim Titlestad which I translated). The Vikings in fact mistrusted raw power, and mitigated it through limiting their kings under the law, subjecting royal decisions to the “Thing” assemblies of free men. Viking society was far from egalitarian, but they revered law, cherishing it as fundamental to a functional society. They cared, in their own way, about freedom – for themselves, anyway. (This is the human norm, by the way – the concept of the brotherhood of Man came to us from Christianity, and has been internalized slowly, even among Christians.)

Why this radical change in popular views of the Viking Age? I think it rises from the political climate. Scholarly opinion in our time is the obsequious servant of politics. (Perhaps it always has been. The current academic fascination with intersectional power may be plain projection.)

For most of my lifetime, the North Star, the guiding principle, of this Political/Scholarly-Industrial Complex has been contempt for Western Civilization. When Vikings were viewed as outsiders to that civilization, scholars had to regard them positively. Now that they have come to be viewed, sometimes, as insiders, the original Dead White Males, they can be despised – when convenient.

The truth of the Vikings is that they were like everyone else. They lived the best way they knew how, according to their lights. (Snorri Sturlusson understood this in the 13th Century. Moderns are often less sophisticated.)

In my view, one major point that’s generally overlooked in our discussions of the Vikings is that the Viking Age was the Scandinavian Age of Conversion. When the Vikings first hit Lindisfarne in 793 AD, they were mostly heathen (though missionary activity had probably begun even then). By the (generally accepted) end of the Viking Era – the Battle of Stamford Bridge in 1066 – the Danes and Norwegians were solidly Christian and the Swedes not far behind. One of the chief reasons for the end of Viking activity was a nascent internalization by Scandinavians of the Christian ethic – an ethic they still haven’t entirely embraced – like everyone else.

There’s another point too. That point – a major one, though intellectually disreputable – is the element of fun. When I fell in love with the Vikings as a boy, it was the image of a dragon ship under sail, headed off to adventure, that gripped me. An idea formed in my mind of a bold hero at the prow of such a ship, a free man sailing out to test his courage and seize his fortune. That image – in time – coupled with the historical figure of Erling Skjalgsson and gave birth to my series of historical fantasy novels, The Year of the Warrior, West Oversea, Hailstone Mountain, The Elder King, King of Rogaland, and The Baldur Game.

Robert Eggers’ movie contains not one moment of that kind of fun. I hope my Erling books do a better job.

Film review: ‘The Northman’

Alexander Skarsgaard as Amleth.

If you’re lucky enough to have read my novel, Blood and Judgment (it’s not too late! Click the link), you’ll know that Shakespeare’s play, Hamlet, was based on a story about a prince named Amleth, found in the medieval history of Denmark, Gesta Danorum, by Saxo Grammaticus. So doing a Viking movie based on the story seems an obvious enough angle. However, Robert Eggers’ violent new film “The Northman” (which I saw last night, wearing my Viking clothes, in a free preview in Minneapolis) still owes more to Shakespeare than to Saxo.

If I were Danish (come to think of it, I’m a quarter Danish), I’d be a little offended at how my country’s Viking heroes are treated in the entertainment media. The History Channel’s egregious Vikings series took the Danish hero Ragnar Lodbrok and shifted him to Norway. Eggers’ film about the equally Danish Amleth starts in Norway, then moves on to Russia and Iceland.

The set-up is that Prince Amleth is the son of King Aurvandill, of some Norwegian kingdom whose name I didn’t catch (the dialogue was consistently difficult to understand. Maybe I’m just old and deaf). Shortly after his return from a Viking voyage, Aurvandill is killed by his bastard brother Fjolnir (Feng in Saxo, and in my book), who then takes the queen (Nicole Kidman) and tries – unsuccessfully – to kill Prince Amleth, who manages to flee in a boat, repeating his vow: “I will avenge you, father. I will save you, mother. I will kill you, Fjolnir.”

We next meet him as a grownup (played by Alexander Skarsgård) in Russia, where he has joined a group of berserker warriors who fight shirtless (horrific scenes of rapine and plunder). By chance, he learns that Fjolnir has been driven from Norway by King Harald Fairhair, and is now a sheep farmer in Iceland. Amleth cuts his hair to look like a slave (a nice, correct historical detail) and sneaks aboard a ship of slaves headed for Iceland and Fjolnir. Once there, he quietly lays his plans to kill his uncle, aided by a Slavic witch (Anya Taylor-Joy) who vows to help him with her “earth magic.”

Amleth will learn that his own life story isn’t as simple as he remembers. But that knowledge will not interfere with his vengeance. The final showdown with Fjolnir, on top a volcano, takes the revenge story even farther from Saxo’s account than Shakespeare did.

What shall I say about this film?

First of all, I must say that “IT” has finally happened. By “IT” I mean the arrival of that elusive creature history buffs and reenactors have awaited so long. At long last, there is a good Viking movie. Possibly a great Viking movie.

That is not to say it’s a pleasant movie. It’s dark, dark, dark. You’d think there was never a sunny day in the 9th Century. Almost all colors are muted (I understand this to be a characteristic of Eggers’ style, but my costume historian friend will not be happy with the lack of bright colors). The only exception I recall is one scene early on, when young Amleth covers himself with a vivid red cloak to escape the royal farm unseen (which seems to me slightly counterintuitive, but no doubt there’s some thematic purpose I’m not bright enough to grasp).

Otherwise, the costumes, sets and props were very good (by movie standards). Fjolnir wears lamellar armor, which will annoy many Viking reenactment group authenticity officers. The great hall of Amleth’s father has its high seat at the end of the hall, rather than half-way down one side-bench. A headband with bangles that Nicole Kidman wears is based on a jewelry reconstruction no longer considered accurate (I read this somewhere). The horses in Norway are too tall (though the ones in Iceland are fine).

But by and large the authenticity is pretty good. Better than we’ve seen before.

For me, the Vikings have been the center of my personal Romanticism since I was about 12 years old. When I’ve dreamed of a good Viking movie, this wasn’t the sort of thing I was hoping for. But that’s just me – it’s a fallacy to judge a work of art based on what you’d like it to be. I think “The Northman” is very successful in being what the director intends.

The darkness of the cinematography mirrors the darkness of the story. The kind of revenge-obligation Amleth feels is entirely authentic to the period (and many other periods). Even when Amleth gets an opportunity to walk away at one point, he can’t do it. It would violate his deepest convictions; damage his soul more than death.

But the revenge is in no way glorified. Amleth’s road is mired in blood. His father initiates him in a blood ritual. He and his berserker friends exult in shedding blood. The Viking religion is bloody, he sees visions of blood, everywhere blood is shed cheaply. There’s nothing romantic about it.

But there is something mythic. The gods are around every corner. The wolves (foxes in Iceland, where there are no wolves) and the ravens are always watching. And sometimes the gods themselves appear. Drawn, it seems, by the blood, just like the wolves and the ravens.

I could make an argument, I think, that Christianity is conspicuous in this movie by its absence. Amleth has no way of avoiding his fate in a world without grace.

But I doubt that’s what Eggers has in mind.

In any case, here’s my summation: “The Northman” is bloody, harsh, hyper-violent and disturbing. It is absolutely not for children or the sensitive. But it’s also brilliant and unforgettable.