Tag: Claes Bang

THE NORTHMAN – Review

Alexander Skarsgård stars as Amleth in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2022 Focus Features, LLC. Courtesy of Focus Features

For fans of both director Robert Eggers’ previous film, the historically-based thriller THE WITCH and the History channel’s TV series VIKINGS, Eggers has the perfect film. THE NORTHMAN is a Viking legend of revenge, a thriller packed with Eggers’ signature period-accurate details. While THE WITCH drew on tales of 17th century witch-hunt hysteria in New England, for thriller drama steeped in historically-accurate details, right down to the accents, THE NORTHMAN is a tale immersed the culture of 10th century Vikings, which also gets Eggers’ research-based treatment. THE NORTHMAN is based on the same Norse tale that Shakespeare used for Hamlet, but it departs significantly from the original legend of revenge, to blend in other Norse legends and aspects of Norse culture for another immersive thriller from Eggers.

THE NORTHMAN is about Vikings, so it is no surprise there will be blood, but there is much more in this tale of unrelenting vengeance. In the 10th century, Amleth (Alexander Skarsgard) is a Viking warrior who as the young prince of an island kingdom witnessed the murder of his father, King Aurvandil War-Raven (Ethan Hawke), by his father’s jealous brother Fjolnir (Claes Bang), then followed by the abduction of Amleth’s mother, Queen Gudrun (Nicole Kidman) by his uncle. A boy on the cusp of manhood, the frightened young Amleth (Oscar Novak) fled his homeland, lest he meet his father’s fate, while his uncle made himself king. Now grown, Amleth is part of a group of Vikings preying on Slavic peoples in the east, when he encounters a seeress (Bjork), who reminds the warrior about his boyhood oath: to avenge his father, rescue his mother, and kill his uncle. His homeland since has been were conquered by another Viking king and the uncle lives in exile in Iceland, with Amleth’s mother. Accompanied by a cunning Slavic woman named Olga (Anya Taylor-Joy), Amleth sets off to exact his long-delayed vengeance

The name Amleth easily changes to Hamlet by moving the letter at the end to the front. In fact, Hamlet follows the legend more closely than this tale, although both diverge from it, but writer/director Robert Eggers has more than the retelling of this one tale in mind.

This is Eggers’ third feature film, his follow up to THE LIGHTHOUSE, and this one reunited the director with both one of his stars from that film, Willem Dafoe (who here plays a wise fool/jester, who aids Amleth) and his star from THE WITCH, Anya Taylor-Joy. THE NORTHMAN shares Eggers’ devotion to well-researched historical realism with his other two films but is a bigger, wilder sort of tale. There is much more here about Viking culture, religion and family life, but vengeance and violence are aspects of Viking life and legends too. If you saw the “Vikings” series, some of this will be familiar but things are wilder in this film. THE NORTHMAN gives us a deadly soccer-like (or is it rugby?) game, Beserkers, and a final battle with naked warriors on a volcano.

But Eggers’ bigger goal with THE NORTHMAN is an adventure tale steeped in a more historically-accurate, immersive portrait of Viking culture than usual. was more interested in offering more than that tale. Eggers was after a more historically-accurate view of real Viking culture, beliefs and history, so his blended other legends and details into this script, which he co-wrote with Icelandic historian Sjon. Fans of the History channel series “Vikings” will recognize some elements of the story, but there is much more here, both in the history and the twisty story.

Since this film is inspired by an old Viking legend, THE NORTHMAN also fits in with a recent trend of re-telling old myths, along with the recent GREEN KNIGHT. Whether the people in Amleth’s story were real or not is lost to history, but it’s tale of revenge is a common theme in Viking tales.

The action and storytelling are highlighted with dramatic cinematography by Jarin Blaschke. Much of the story takes place in Iceland, and one could hardly ask for a more dramatic, breathtaking landscape. Eggers’ fills each scene with realistic details, meaning things are not prettied up, but his devotion to historical accuracy deepens scenes as well as adding the unexpected and fascinating. The tale is full of emotion and drama, and also unexpected curves, as Amleth’s path runs anything but straight. Elements of fantasy and Viking beliefs are blended in, including Valkyries and Valhalla, legendary swords and sorcery.

THE NORTHMAN is a wild, crazy, entertaining Viking legend-steeped hero’s tale, filled with violent fights and shocking plot twists, and featuring a sterling cast. If you love myths and history, and don’t object to tales of vengeance and bloody battles, Robert Eggers’ immersive Viking tale with an anthropology bent delivers the goods.

THE NORTHMAN opens in theaters on Friday, Apr. 22.

RATING: 3.5 out of 4 stars

THE BURNT ORANGE HERESY – Review

Who’s ready for a bit, no lots, of culture? No, well let’s sweeten the deal. Yes, you’ll be in the world of odd artists and their deep-pocketed patrons, but the paintings are on the walls of a swanky mansion over in Italy. Hmm, some refinement and a virtual “vacay”. And who are our guides? That’s where the romance sneaks in via a most photogenic pair of European rising stars. Oh, and they’re backed up by a veteran film actor (this is his seventh decade on screen) and an honest to gosh, no debate about it, rock and roll god. Somehow this quartet is connected by the piece known as THE BURNT ORANGE HERESY.

When we meet art critic/author James Figueras (Claes Bang) he’s lecturing a group of English tourists at a bookstore in Milan, Italy. Nobody’s buying his softcover collection of art essays, but he’s approached by a willowy blonde from the states, Berenice Hollis (Elizabeth Debicki). The two go straight from the shop to his “flat’ for a late afternoon romantic “romp”. Instead of sending her on her way, James invites her to join him on a business, now with a bit of pleasure, trip. A wealthy art collector wants him to appraise a new acquisition. The couple motors their way to the Lake Como villa of Joseph Cassidy (Mick Jagger). While Berenice lounges by the pool, Cassidy reveals the real reason for summoning James. It seems that Cassidy is part of an art lover’s group providing a home for reclusive celebrated painter Jerome Debney (Donald Sutherland) located not far from the mansion. Getting an exclusive interview with Debney would re-ignite James’ fading art historian career. But what does Cassidy want in return? Over the last fifty years, all of Debney’s works were destroyed in two fires (one at a museum, the other at his studio). He hasn’t produced anything since the tragedies. Cassidy wants James to convince Debney to create one more painting, a one-of-a-kind that would become part of Cassidy’s massive collection. To ensure his help, Cassidy threatens James with a bit of blackmail, a secret that could drum him out of the ‘art world”. Later at the pool, James and Berenice encounter Debney who is familiar with his writings. However, Debney insists that he will have no part of a literary profile. How can James change his mind, let alone convince him to paint once more?

As for this quartet of players, some are most engaging while others, well, often strain to move the “not as clever as it thinks it is” story. Bang, who most recently was a suave and bloodthirsty Dracula in a Netflix miniseries, bares that script struggle as he tries to make James into a complex compelling protagonist (though other forces seem to compel him forward). We can see his skills at hustling the tourists, but it’s difficult to buy into his “con game” with the upper elites, let alone that this “cool blonde” (a nod to “Hitch”, perhaps) would fall into bed with him so quickly, even as he devolves into a jittery chain-smoking “pill-popper”. Debicki as Berenice (really is that name a staple in small Minnesota villages) has an aloof alluring vibe, comfortable in a modest (well for Milan) studio apartment or gliding about a swanky manor. Still, she can’t make the clunky pillow talk play, but Debicki shines as she opens up her wounded soul to the sympathetic reclusive painter. Maybe that’s because the eccentric artiste is played with great subtlety and “charm to spare” by the still-surprising Sutherland. The years have just made him more compelling as his rich vocal delivery draws us in, setting us up for Debney’s twisted, but often just, moral code of conduct. His supporting role is the film’s biggest strength as is the most welcome acting return after nearly twenty years (so great as the “escort agent” of THE MAN FROM ELYSIAN FIELDS) of Jagger who is the ultimate in silky smooth but sinister civility as the collecting-obsessed Cassidy. His silky compliments put James at ease, easily setting him up for a cruel plunge into crime and deceit ( a coiffed smiling cobra comes to mind). His arena-filling charisma makes this preening puppet-master (dance Jame, dance) the jewel as the heart of this modern noir homage.

Actually a story centered on the relationship between Debney and Cassidy would be most compelling, but director Giuseppe Capotondi is tasked with making the James/ Berenice romance/partnership interesting. It’s not enough to move the plot’s manipulations forward at a breezy clip. Much of that floundering is due to their exchanges in the script by Scott B. Smith adapting the Charles Willeford novel. The attempts at witty by-play fall flat as do the “hammered home” digs at James’ moral flaws (constant flies and bees, that gushing nose bleed). Once the “crime” is in motion we’re left to accept other characters “going along’ with odd bits of business (leave the villa in the dead of night…okay). This leads up to a final “fast forward” denouncement” that feels more contrived than clever. The lush Italian locales are quite lovely, but the attitude toward and fate of one major character just sours almost everything. Except for those performing “pros”, Donald and Mick (maybe too close to the Disney duo). They add the real heat (and color hued heat) to THE BURNT ORANGE HERESY.

2 Out of 4

THE BURNT ORANGE HERESY opens everywhere and screens exclusively in the St. Louis area at the Hi-Pointe Theatre

THE SQUARE – Review

Julian (Dominic West) endures the actions of a performer named Oleg (Terry Notary), in Ruben Ostlund’s satire THE SQUARE. Photo courtesy of Magnolia Pictures (c).

Ruben Ostlund’s satire THE SQUARE was Cannes’ Palme D’Or winner this year but this ambitious film is a decidedly unusual winner. Ostlund’s previous film, FORCE MAJEURE, explored a single morally-bad choice in a caustically comic way. THE SQUARE turns a satiric eye on modern art, contemporary society, political correctness, homelessness, sex, income inequality and more, although it often focuses on the subject of trust. THE SQUARE, partly in English and partly in Swedish with subtitles, is sly, darkly satiric and sometimes laugh-out-loud funny film, when it is not just downright disturbing. This is not a film for everyone, but it has rewards for those up for its wild ride.

The story revolves around Christian (Claes Bang), the curator at a modern art museum in Sweden. The film’s title refer to a new art installation, a simple square cut into the pavement and edged with an LED light strip, and marked with a plaque reading, “The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.” It is a peaceful sentiment, and pretty far from what really goes on in THE SQUARE, once director Ruben Ostlund’s biting social satire gets underway.

Christian’s modern art museum is housed in a historic building adjoining the former royal palace, now also a museum. Redirecting lost tourists to the palace is a daily task for the art museum’s staff. At the film’s beginning, an old bronze equestrian statue is unceremoniously ripped from its pedestal in front of the museum, as the hundreds-year-old brick pavement next to it is sliced into for the new art installation, “The Square.”

Tradition and history don’t get much respect at this museum but money sure does. Like all museums, pleasing donors and the board are a major part of Christian’s job as curator, and drumming up media, and public, interest in the gentle message of the new art installation, by Argentinian artist and sociologist Lola Arias, may be a challenge.

A robbery in which Christian is conned and loses his smart phone and wallet kicks off the series of events that comprise the plot. One of Ostlund’s targets is the media, and its tendency to bring out the worst in people. The gentle message of the art installation has no appeal to the media, which demands “controversy.” While Christian is preoccupied with his own drama over the stolen cell phone and wallet, the PR company cooks up a plan to go viral. The others at the table are clearly uneasy but no one wants to take responsibility for saying no. When the distracted Christian does not object, the plan is launched, with bizarre results. It goes viral and gets media attention all right but not in a good way.

Ostlund underlines modern society’s growing distrust of government by the fact that no one even mentions calling the police after the robbery. Christian and his co-worker’s track his stolen cell phone themselves, and determine where the thief lives.

Christian is the stereotype of the sincere, serious modern man, capable of saying all the right things but clueless about his bubble of privilege. He knows all the right words but just can’t grasp how they relate to him. We first meet the handsome, sincere, well-spoken curator as he is being interviewed by an American journalist named Anne (Elizabeth Moss). As Anne reverently asks him about a self-contradictory statement on the museum’s website, Christian’s answer tips us off as to just how far into the realm of verbal BS this film is willing to wade – which is way into the deep end. The scene is hilarious and telling. Later, they have an equally telling and funny confrontation, in front of an art installation made up of a creaking pile of chairs.

 

The art world is an easy target but far from the only one in this satire. “If we took your bag and placed it here (on the museum floor), would that make it art?” Christian says, posing a question art experts have been asking since Marcel Duchamp bought a urinal at a hardware store, re-named it “Fountain,” and displayed it in an art gallery. The modern answer seems to be, it does – if you have an art degree. But Ostlund then goes after a host of aspects of modern life, in hilariously pointed fashion.

Christian is a sincere guy who tries to think globally and thinks of himself as a good person. He says all the right things, drives a Tesla, is a caring divorced father of two daughters, but his expressions of ethical/moral concern do not match his actions. He walks past the homeless people who seem to be everywhere is this Swedish city without even noticing. Occasionally, he gives them money or buys them a sandwich but that is as far has it goes.

Christian is all talk and no action, idealist in how he speaks but cynical in how he acts, reflecting many people in modern society. A caring divorced father to his two daughters, he is cool to the pleas of the boy whose trouble with his family were caused by Christian’s unthinking actions. The boy demands, then begs Christian to apologize to his family for the mistake, but while he tells the boy he’s sorry, he’s unwilling to do more. When he finally does, he blames the whole world in his rambling apology.

The film’s events are often funny if bizarre, but sometimes just disturbing. Ostlund clearly wants to disturb, to encourage people to think. Often, the film focuses on trust – who to trust, how far to trust, trust in others, trust in the system. Although there is a plot that ties everything together, individual scenes frequently play out like skits, some silly, some weird, some alarming.

The film is peppered with biting routines. The artist who created “The Square” never appears in the film but another artist, Julian (Dominic West) does. Julian is the epitome of the smug, superior stereotype of an artist. One of the film’s absurdly comic scenes has the artist speaking in a gallery Q and A with a museum staff, only to be interrupted by shouted sexual comments from a man with Tourette’s Syndrome. The audience nods tolerantly, but as the interruptions become more frequent, continuing becomes impossible. When an audience member timidly ventures to speak up, she is pounced on by others set on lecturing her on tolerance.

“We, as a museum, mustn’t be afraid to push boundaries,” Christian tells us, but pushing donors’ boundaries is another matter. Lavish parties and events with guest artists are major part of Christian’s job.

One of the film’s most unsettling scenes takes place at a black-tie gala dinner for wealthy donors, at which the entertainment is a performance called “The Animal.” After a menacing voice booms out over jungle sounds, warning the audience not to confront or challenge “the animal,” an actor named Oleg (American stuntman/motion capture actor Terry Notary, who specializes in portraying animals) emerges, bare-chested and wearing gruesome prosthetic teeth, wanders among the tables, imitating chimp-like vocalizations and “knuckle-walking” with the help of metal extensions on his hands. At first the formally-dressed attendees are amused but when one of them gets too flippant with “the animal,” violence ensues and the line between pretense and reality blurs. The scene is striking, due in part to Notary’s performance, in which the muscular but middle-aged shirtless man displays a mix of humanity and wild animal, melancholy and menace.

THE SQUARE is not really saying something new but it is making its points in a strikingly fresh, satiric way. As Charlie Chaplin noted, sometimes you can say something serious more effectively with comedy.

RATING: 4 out of 5 stars