The Norse: Why Alexander Skarsgard refuses to glorify Vikings

“When we started working together, he hadn’t done it yet” The lighthouse”, explains Skarsgård. “He had just been released” The witch, and I was quite fascinated with how he incorporated the supernatural into the story and how the characters don’t react to it the way a modern audience would. That got me really excited, because Rob was able to capture that in a Viking setting with Viking characters and their relationship to the spirit world and gods.”

One of the strengths of all three of Eggers’ films is that they immerse the viewer not only in the authenticity of the production design, but also in the psychology of their cultures. Unlike most modern historical dramas, Eggers does not attempt to infuse a 21st century worldview into his characters; rather, he trusts the modern public to draw their own conclusions by witnessing archaic and even alien thought processes from previous generations. It touches what Skarsgård, who is also a producer, the Normanalways wanted for his own Viking film.

The actor says: “I was fascinated by the distinction between the natural and the supernatural, and how for the Vikings there was no distinction as there was for us. I was really fascinated by that aspect, and the possibility of bringing that to an audience in 2022. show that it will look like a fantasy, but for the characters who live it, experience it, it is 100 percent real.”

The desire for authenticity also went hand in hand with the need to get away from how Viking culture has been romanticized in the media and co-opted by fringe political movements that are often riddled with racial prejudice. This can vary from the Norman escape the motorpunk aesthetic associated with Vikings in the mass media thanks to projects like the History Channel Vikings TV series and the Assassin’s Creed Valhalla video game, to how the film also portrays the violence and brutality of that culture.

Take the aforementioned heist series set in an Eastern European village. In the film, Amleth and many of his fellow combatants, after sailing within reach of this Slavic community, spend the evening taking hallucinogens to hype themselves into a psychedelic berserker rage – the literal origin of the word “berserk.” – and attack the next day devoid of armor or clothing beyond bear and wolf skins on their backs (with each warrior believing that he has spiritually transformed into the animal of his choice).

They then murder all the men in town in a stunning long-take that precedes the same characters indulging in the spoils of war: women and children, slaves and victims.

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