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    Watch Alexander Skarsgard Battle the Undead in ‘The Northman’

    The director Robert Eggers narrates a scene that pits the star against a most unfriendly zombie.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.A quiet moonlit scene turns into a rousing fierce fight with an undead mound dweller in this scene from “The Northman.”Amleth (Alexander Skarsgard), the Northman of the title, is seeking to avenge his father’s death. But he requires a special sword that he must retrieve from a burial mound. He’ll just need to pry the weapon from the hands of the mound dweller buried there. Oh, and fight that undead figure when he is roused.Discussing the scene, the director Robert Eggers said that the barely visible moonlit shots in the film “are almost black and white, to the point where I wonder if my D.P. and I made a mistake,” he said, referring to the director of photography, Eggers’s longtime collaborator Jarin Blaschke. The stark glimmers of these moments are based on time Blaschke spent in remote parts of Africa, far from any light pollution. The images are enhanced by an ashen coloring the costume designer and production designer put on the clothing and set to enhance the visuals.Much of the fight with Skarsgard (6-foot-4) and Ian Whyte (7-foot-1) was shot in a vertically roomy space in long, unbroken takes. It became a way to help audiences be “more immersed in the fight,” he said. “And it’s also easier to follow each beat of the fight as a story.”Read the “Northman” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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    ‘The Northman’ | Anatomy of a Scene

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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    ‘The Northman’ Review: Danish Premodern

    Alexander Skarsgard, Anya Taylor-Joy and Nicole Kidman star in Robert Eggers’s bloody Viking revenge saga.“The Northman” tells a very old story — maybe the same old story. A young prince seeks to avenge the murder of his father, the king, whose killer has usurped the throne and married the prince’s mother. That’s “Hamlet,” of course, but Robert Eggers’s new film isn’t another Shakespeare screen adaptation, bristling with Elizabethan eloquence, high-toned acting and complex, uncannily modern psychology.Eggers, who wrote the screenplay with the Icelandic novelist and playwright Sjon, has conjured this bloody saga out of the ancient Scandinavian narratives that supplied Shakespeare’s source material. His raw material, you might say, since “The Northman” insists on the primal, brutal, atavistic dimensions of the tale. Amleth, as he is called, is no student philosopher, temporizing over the nuances of being and nonbeing. He is a berserker, a howling warrior with ripped abs, superhero combat skills and a righteous cause for his endless blood lust.This is what I mean by the same old story. In modern movies, even more than in 17th-century English plays, revenge can seem like the most — maybe the only — credible motive for heroic action. Just ask the Batman. Truth and justice are divisive abstractions, too easily deconstructed or dressed up in gaudy ideological colors. Love is problematic. Payback, in contrast, is clean and inarguable, even if it leaves a mess in its wake.“Avenge father. Save mother. Kill uncle,” young Amleth repeats to himself as he flees the scene of his father’s death. These words propel him into manhood, as he grows from a wide-eyed boy played by Oscar Novak into a cold-eyed marauder played by Alexander Skarsgard.Amleth inhabits a world whose operating principle is cruelty, and Eggers’s accomplishment lies in his fastidious, fanatical rendering of that world, down to its bed linens and cooking utensils. If you’ve ever played Dungeons and Dragons, you may have encountered a dungeon master who took the game very, very seriously, attacking the task of fantasy world-building with excessive scholarly rigor and over-the-top imaginative zeal. That kind of player can be intimidating, but also a lot more fun than the average weekend geek.Eggers is like that. His two previous features — “The Witch” and “The Lighthouse” — unfold in versions of the past that split the difference between authenticity and hallucination. “The Witch” (2016) turns Puritan New England into a feverish, poisoned pastoral landscape of religious mania, unacknowledged lust and literal bedevilment. “The Lighthouse” (2019), set on a windswept island off the North Atlantic coast of America, is a clammy sea chantey about men going mad in close quarters.Driven less by plot than by a succession of intensifying moods, these films dig into historical moments when the boundary between the human and the supernatural felt especially thin. Archaic forms of belief are treated not as quaint superstitions, but as ways of understanding scary or inexplicable facets of experience. The witches and mermaids are as real as anything else.And so it is in “The Northman,” which, like “The Witch,” mines a shadow-shrouded pagan past for images and effects. In the 1600s of the earlier film, older customs and beliefs had been pushed into the margins by Christianity, but in this version of early medieval Northern Europe, that relationship is reversed. Christianity is mentioned in passing as a weird form of worship — “their God is a corpse nailed to a tree,” one character says — in a polytheistic, polyglot society made and unmade by endless conquest, migration and war.As a boy, Amleth lives in a benevolent corner of this world. His father, Aurvandil War-Raven (Ethan Hawke), is a pretty fun dad for a warrior chieftain, turning Amleth’s initiation ceremony into a night of silly, flatulent horseplay. Spiritual guidance is provided by a shamanistic fool (Willem Dafoe) and a spooky seeress (Björk). But nothing can protect Aurvandil from his bastard half brother, Fjolnir (Claes Bang), who kills the king and takes up with his wife, Gudrun (Nicole Kidman).Later, Amleth’s child’s-eye view of what happened will be complicated when he hears Gudrun’s side of things. (Kidman’s sly performance is the most Shakespearean thing about “The Northman.”) First, though, he will join a band of Viking raiders, whose plunder of a town somewhere around Russia provides Amleth — and Eggers — a chance to show off their chops. Literally, in Amleth’s case, as he hacks, stabs and cudgels his way over ramparts and through muddy dooryards and alleyways.Eggers, aided by Jarin Blaschke’s smooth, immersive cinematography, turns the scene into a Hieronymus Bosch painting in motion, a tableau of terror and chaos composed with remorseless clarity. There is something coldblooded in this matter-of-fact depiction of violence. Villagers are herded into a barn, which is sealed up and set ablaze. Rapes, beatings and disembowelments happen in the background or on the edges of the frame, barely noticed by our hero.Skarsgard and Anya Taylor-Joy, whose character, Olga of the Birch Forest, has magical powers that make her a formidable ally.Aidan Monaghan/Focus FeaturesThe purpose of the attack is to capture slaves who will be sorted and shipped off to various customers — including, Amleth learns, to Fjolnir, who has set up a new kingdom in Iceland with Gudrun and their sons. In the company of a captive named Olga of the Birch Forest (Anya Taylor-Joy, who also did some forestry in “The Witch”), Amleth joins the enslaved, smuggling himself across the sea to confront his nemesis at last.We can leave the plot there. It moves in a straight, relentless line, but matters in the Fjolnir-Gudrun household get a little intricate once Amleth and Olga arrive on this scene. Her earth-goddess magical powers make her a formidable ally, though she isn’t only that. The hokeyness of the romance between Skarsgard and Taylor-Joy, from an old-school movie-lover’s point of view, is one of the best parts of “The Northman” — a touch of ultra-blond Hollywood glamour amid the Nordic mumbo-jumbo.Which I totally respect. A recent profile in The New Yorker posited that “The Northman,” which lists several historical consultants in its credits, “might be the most accurate Viking movie ever made.” The evidence for this is in the production design (by Craig Lathrop) and the costumes (by Linda Muir), in the runic chapter titles and in the careful pronunciation of words like “Odin” and “Valhalla.” But fidelity to the past, however obsessive, is ultimately a minor, technical achievement, and “The Northman” is a movie with big — if somewhat obscure — ambitions.Eggers’s brutal, beautiful vision of history compensates, as such visions often do, for the deficiencies of the present. It isn’t that anyone would be happier living Amleth’s life, or those of the nameless slaves and soldiers whose slaughter decorates his adventure. But his reality is built on clear and emphatic moral lines, on coherent (albeit harsh) ideas about honor, power and what gives meaning to life and death.The point is not that you or any other modern person believes in these ideas — though I suppose there are some people who might pretend to — but that the characters are governed by them. Their fates make sense to them, and therefore to us as well. What’s perhaps most impressive about “The Northman” is that it hurtles through 136 minutes of musclebound, shaggy-maned mayhem without a whisper of camp or a wink of irony. Nobody is doing this for fun. Even if, in the end — thank goodness — that’s mostly what it amounts to.The NorthmanRated R. Endless blood lust, and some of the other kind, too. Running time: 2 hours 16 minutes. In theaters. More

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    Alexander Skarsgard’s Viking Dream

    LONDON — In Alexander Skarsgard’s telling, the idea for what eventually became his latest film, “The Northman,” has its roots on a long, slender island off the coast of Sweden called Oland, where his great-great grandfather built a wooden house a hundred years ago.“Some of my earliest memories are from walking around with my grandfather on Oland and him showing me these massive rune stones and the inscriptions,” he explained on a recent rainy Monday over lunch at a hotel tucked away in central London. “Telling tales of Vikings that sailed down the rivers, down to Constantinople.“So, in a way,” he continued, “you could say that the dream of one day making or being part of a Viking movie was born in that moment.”Wearing a gray crew-neck sweater and dark jeans, he was centuries away from the bloody, muddy berserker he plays in “The Northman,” the much-anticipated action-adventure that marks the director Robert Eggers’s leap into big-budget filmmaking.Six-four, blond and indisputably handsome, Skarsgard would seem a no-brainer to launch a Viking film, but getting this film made took awhile. Skarsgard said he spent years working with the Danish film producer Lars Knudsen trying to determine what shape the project would take. Then, in 2017, he met with Eggers, who had fallen in love with Iceland during a visit two years earlier, to talk about another project.Skarsgard and Eggers both describe that meeting as “fated,” and it eventually led Eggers, along with the Icelandic poet and author Sjon, to write “The Northman.” Eggers, who said he had $70 million to make the film, took some inspiration from the 1982 “Conan the Barbarian,” which he watched as a kid.The actor in full Viking mode in “The Northman.”Aidan Monaghan/Focus FeaturesSkarsgard’s character is a Viking prince, Amleth, bent on vengeance after his father is murdered. Skarsgard is a producer of the new film, which opens on April 22 and also features Anya Taylor-Joy, Nicole Kidman and Björk, among others.“It was a real treat as an actor to be part of the project from the genesis,” Skarsgard said. “To be part of that journey and to be able to continuously have these conversations with the screenwriters as they are shaping the story, talk about the arc of Amleth, the story, the essence of it — that was very inspiring to me.”The star, 45 and unfailingly polite, has played a Viking before. In fact, he’s played a Northman before: Eric Northman, the proudly undead, ultrasexy Viking vampire on the HBO series “True Blood.” But the title character of “The Northman” is a Viking after Skarsgard’s own heart — one faithful to the medieval lore of the Icelandic sagas, one who doesn’t question fate or faith. And one who, by design, doesn’t have a lot to say.The sagas on which the film is based are “very laconic,” he said. And the characters “don’t really speak unless absolutely necessary.”Skarsgard himself is open, with an easy smile. He’s aware of the world around him, including being up-to-date on the latest news from Ukraine and knowing that asparagus season is upon us. He gave questions his full attention, pausing to gather his thoughts before answering — and not once glancing at a cellphone.Though he grew up hearing Viking stories, Skarsgard read books and watched lectures on them to prepare for his role. He said the most interesting thing he learned was that Vikings believed each person had a female spirit guiding them.“I thought that was quite fascinating, the juxtaposition between that and the brutality you see when you first meet Amleth,” Skarsgard said. He added, “That he would have believed that there’s a female spirit inside of him that guides him, I really liked that idea.”Though he grew up hearing Viking stories, Skarsgard read books and watched lectures on them to prepare for his role.Robbie Lawrence for The New York TimesHis preparation complete, it looked as if everything was coming together on the film. Just as shooting was set to begin, the pandemic hit.“For about 48 hours we were still moving forward, but everyone was like, ‘Is this happening? Are we doing this? What’s going on?’ And then finally, they pulled the plug and said we have to break and that we’re going home.”Though Skarsgard considers New York his base, going home meant heading to his hometown, Stockholm.He holed up with his large family at his mother’s country house. He’s the oldest son of the actor Stellan Skarsgard and his first wife, My, and one of eight siblings. Three of his brothers are also actors, including Bill Skarsgard, who played Pennywise, the creeper clown in the “It” movies; another brother is a doctor who kept them apprised of developments in the Covid crisis. Skarsgard said that despite the frightening circumstances, he enjoyed getting to spend time with his family.“We cooked dinners and hung out, worked in the garden,” he said, adding that gathering the whole family can be difficult because work gets in the way. “I really enjoyed it. Then I felt almost guilty because it was a pandemic and people were dying.”Family and Sweden, where Skarsgard grew up and spent some time in the military, are important themes in his life.“We’re all a very tight group,” he said. “Everyone lives within two blocks of each other in South Stockholm and we see each other all the time when I’m home.” (He is not married but answered with a resounding “no” when asked if he was single.)He started out as a child actor but took a break beginning in his early teens before fully embracing an acting career in his 20s. He has said in the past that he didn’t like the attention acting brought him when he was young.His path to “The Northman” runs through dozens of roles in film and TV, some seemingly different sides of the same coin. He’s played an Israeli spy (“The Little Drummer Girl”) and a German man coming to terms with life after World War II (“The Aftermath”). A young Marine who helps the United States invade Iraq (“Generation Kill”) and a sadistic Army sergeant who leads young recruits astray in Afghanistan (“The Kill Team”). An abusive husband (“Big Little Lies”) and an achingly sweet stepdad who steps in to care for his neglected stepdaughter (“What Maisie Knew”).Skarsgard won several awards, including an Emmy, for his turn as an abusive husband opposite Nicole Kidman in “Big Little Lies.”HBOHe also snagged a small but pivotal role in HBO’s prestigious dramedy “Succession,” playing Lukas Matsson, a Swedish tech billionaire.Mark Mylod, an executive producer on the show who directed Skarsgard in two of the three episodes in which he appears, said the actor “was really the only choice for the character because of the intelligence of his work.”The makers of “Succession” had envisioned a character with “that kind of Elon Musk” charisma but not necessarily based on the Tesla chief executive. The Matsson character had to have the gravitas to be a genuine rival to the family behind Waystar Royco, the fictional company at the heart of “Succession,” Mylod said.“He found a way to make that character so fantastic and watchable and totally credible,” Mylod said. “With a small number of scenes, he made such an impact.” (Mylod wouldn’t say if Matsson is returning in Season 4.)Rebecca Hall, an actor who had worked with Skarsgard on “Godzilla vs. Kong,” said she had struggled to get financing for her own passion project, “Passing,” her adaptation last year of the 1929 Nella Larsen novel about the friendship between two Black women in New York, one of whom is passing as white.While working on “Kong,” Hall got up the courage to ask Skarsgard to read her script. He did and agreed to play the part of a racist husband. “I got the sense that he cares about good art being in the world and will do what he can to support that,” Hall said in an interview, adding that the character was the kind he had played well. “He’s no stranger to complicated characters who do bad things.”For Skarsgard, “there is zero strategy or plan” to his career. “The sweet spot is when I’m intrigued by the character, and I understand aspects of him and he makes me curious to learn more,” he said. “That’s superfun because then that means that I’ll probably enjoy diving in and exploring that a bit deeper.”On “The Northman,” diving in meant bulking up. He is also reunited in the film with Kidman, who played his wife in “Big Little Lies,” for which he won an Emmy, a SAG Award and a Golden Globe. This time she’s his mother.The two actors traveled with the rest of the cast to Northern Ireland, Ireland and Iceland for the grueling “Northman” shoot. Skarsgard described it as “seven months in the mud.”Eggers, an exacting and meticulous director, said that he was “not a sadist to be a sadist,” but that he was dead serious about detail and accuracy, which will come as no surprise to viewers of his earlier films, like “The Witch” and “The Lighthouse.”Skarsgard has spoken in interviews about being shackled and dragged through the muck. But Eggers said that, like him, Skarsgard wanted the best result. “When we embarked on this together, he was after nothing but perfection.”Eggers added, “Alex has sort of talked about me driving him to the edge, but there were many times that I can remember him asking for another take because he’s just as much of a perfectionist as I am.”The director acknowledged that the working conditions were difficult. “I am not trying to make things hard for us,” he explained, “but when you’re telling the story of the Viking Age in Northern Europe, you’re going to seek punishing locations, with extreme weather and terrain. And that’s just what it needs to be to tell this story.”When shooting was delayed, Skarsgard returned to Stockholm, where he enjoyed time spent with his family. “I felt almost guilty because it was a pandemic and people were dying.”Robbie Lawrence for The New York TimesWorking with such a large budget and cast were perks, Eggers said, but also meant a great deal of pressure. “If this movie doesn’t perform, that will be a problem,” he said.After all of the work, Skarsgard said, “I just want people to see the movie, that’s it,” adding, preferably on the big screen.As is pretty standard fare for a Skarsgard project, he’s naked in parts of “The Northman,” including during a fight scene in a volcano.Does he ever just say no to taking off his clothes? He said he had recently done just that at a photo shoot after being asked to take his shirt off, saying, “I think there’s enough nudity in the movie.”Skarsgard, who had spent the morning doing press by Zoom and had traveled around Europe promoting in the days before we talked, had by the end of the interview kind of slid down the banquette, resting his head against the cushion. He said he realized his films tend to be heavy. “I might have to do a comedy soon,” he said, adding that he would like to work with the satirist Armando Iannucci or the British comic actor Steve Coogan.“The Northman,” he said, “was so intense. It was the greatest experience of my career but, God, it was intense.” More

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    Watch an Underwater Brawl in ‘Godzilla vs. Kong’

    The director Adam Wingard narrates the sequence where the big ape and the giant lizard first spar in the film.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.Godzilla enters the scene with a splash in this high-energy moment from the latest in the MonsterVerse franchise.Kong is being transported from Skull Island by ship and has an ocean encounter with a very agitated Godzilla. Some of the action in the sequence borrows from “Jaws” and “Die Hard” alike, and the director Adam Wingard said he wanted to lean into the spectacle.“This is why you do these movies,” he says, narrating the sequence. “When you get to these moments, it’s all worth it because it’s basically like playing with C.G.I. toys.”But it’s not all just visual-effects theatrics. The action moves back and forth between what’s happening with the humans on the ship and what’s unfolding in the water with the creatures. Wingard wanted to parallel specific movements to provide a sense of grounding. So he cut from a shot of Godzilla swimming to one of the characters, Nathan (Alexander Skarsgard), doing the same, or a close-up of Kong roaring to one of Nathan yelling.“It’s like you’re dealing with characters that are 6 foot and below, and 300 feet and above,” he said, “so how do you link them up? You try to find these little visual cues that subconsciously tie the two worlds in together.”Read the “Godzilla vs. Kong” review.Look back to when Kong accidentally met Godzilla.Find out more about the rich history of franchise crossovers.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More