"The Northman"

Secondary review (with spoilers)

“The Northman” is the first movie accurately depicting our culture as Norse warriors and Úlfhéðnar, and also most likely the last in our current civilization. As per the previous Væringjar review, it is basic, raw, hyper masculine, and without the slightest hint of diversity or inclusion. It is best understood in its depth in conjunction with the Úlfheimr trilogy. With the second viewing, in my case privately with Áskunnr hinn gullúlfr Bjǫrnsson while pups were in another booked theater, making the movie even better.

The theme is the sanctity of the oath in our culture and for the Norse warrior. So often discussed in Icelandic Sagas. The movie also clearly illustrates the Norse definition of a warrior, as we previously highlighted (and best defined by “Farmers coming to blows” by an Icelandic scholar):

For the Norse, a warrior is a man who engages in any sort of ideological physical combat, potentially to the death as required, whether or not in the context of an actual war. But more importantly, a warrior is also a man who thrives and excels at fighting, which also means as a result that being a warrior is an integral part of Norse culture, and simply a way of life.

The movie also brings to the surface the tragic dimension to being a warrior. Not so much one’s own death, which is welcome as long as it is in combat in the goal/hope of reaching Valhöll, but for everyone around, including over the tradition of wiping out entire blood lines, for obvious reasons, that become even more obvious during the movie. “The Northman” also exposes themes that are particularly significant for us Úlfhéðnar, and particularly within our military order, or me personally, as discussed in my second book. 

We, Úlfhéðnar, are driven by oaths, our bros, and thus, revenge. None of us here joined special forces to uphold freedoms or any similar bullshit. In my case, I did, with a bro at the time (Áskunnr hinn gullúlfr Bjǫrnsson’s actual brother) to avenge the first human being I felt connected to, a United States Marine who taught me a lot of what I know, and who was killed in the Beirut barracks bombings. Then to avenge my own father. It was consuming. When my military partner died, however, part of me died with him. My life, consumed so far by revenge, just ended. Or so I thought. Similarly, in “The Northman”, Skarsgård, the Úlfheðinn is consumed by revenge and hatred. He knows nothing else. It defines his life. In my case, the twins, and what happened to them, gave a spark and a new direction to my life that had become empty of all the human connections I have ever known. But once again, everything we have done so far was to avenge our bros. Not to fight for our country. Even, or I should say especially, Áskunnr hinn gullúlfr Bjǫrnsson is known for having committed, at a particularly young age, to wiping out all the Hezbollah dudes involved in the hijacking of TWA 847. Every decision from that point was to better eliminate the enemy. This is an aspect of us modern society doesn’t or cannot understand. It is also a fundamental part of being a warrior. You do harm to us our especially our own, and we will dedicate our life to wiping you and your offsprings out. Í vegi jarðar. That is the way of things.

The movie also relies heavily on Úlfhéðnar’s culture and traditions and provides many significant details. From ceremonies, to body language, to extreme violence, exceptional fitness, and an inclination to rarely wearing too much clothes, or any at all. As a matter of fact, Skarsgård fights half naked most of the time, or even completely naked at the end. The connection with the Æsir, wildlife, canines, wolves, nature and the mystical is also prevalent. Details such as killing by jugular tearing is a reference everyone here will associate with Áskunnr hinn gullúlfr Bjǫrnsson. Úlfhéðnar being so related and connected to wolves at all possible aspects. Including wolves daring to hang out with and around Úlfhéðnar in the midst or aftermath of devastating battles. Also Úlfhéðnar’s resilience to everything really, from the elements to extreme pain and injuries. Úlfhéðnar are also consistently referred to as “beasts”, reinforcing the connection with wolves. The aspect of Valhöll being only for the best warriors who die in combat is also made crystal clear, with a Valkyrie, sounding quite aggressive in demanding that only the best warriors be handed over to her. 

Other significant details connected to us here are the method of swimming, the very same I used to escape as a child, the significance of blood lines, especially royal, and a hint at the future being defined by the twins. The harshness and extreme difficulties of crossing oceans in Viking ships, something we recently developed a deep appreciation for. Or the call of the north, including the association with northern lights and the settlement of inhospitable Iceland. Skarsgåd head position and stare during combat is also so reminiscent of watching hybrids here. If it wasn’t for a different height (Áskunnr has a full foot over Skarsgård), watching Alexander charge in combat was like watching Áskunnr, and many other hybrids or even many regular Úlfhéðnar fight. Something no other movie in history and anywhere in the world had manage to express accurately until now. The movie even involves uninhibited sex, so natural to us in general terms, although we tend to lean towards a different version than that depicted in the movie. We do know it wasn’t easy for Skarsgård. Notwithstanding other considerations, it was indeed the toughest and most difficult role of his career. But I do not see any other public figure who would have been able to perform this Northman role so exceptionally well. Finally, release date was April 8…

Surprisingly, women are also kept in their place: In the kitchen or spending their days doing their hair. None belongs in combat or a military capacity, and this is very clear throughout the movie. Even the Valkyrie does not engage in fighting at any point, a factual cultural aspect lost to popular culture. In pure Norse tradition, as per our history, including recent, women are also depicted as being the demise of men. By being traitorous, vile, unreliable, distracting, hysterical, weakening, yet part of our life if we want, and we always do, offsprings. 

This movie is about Úlfhéðnar and the archetype of the Norse warrior specifically, not the modern state and Abrahamic version. Thus, “The Northman” is bleeding hyper-masculinity (figuratively and literally). The true absolute male. Defined by the most fundamental core evolutionary traits and characteristics that have been keeping our species alive so far (and for not much longer if we don’t manage to hold onto these critical traits). Including extreme aggression and violence as needed, while keeping it under control. “The Northman” is so unlikely any movie produced in recent history, including due to is absolute lack of woke insanity, that it will be traumatic and abhorrent to most. The cinematography is visually exceptionally pleasing, including from a male body, fitness and beauty perspective. 

No movie had ever been produced that translated the Norse warrior concept and culture effectively. I don’t think any other such movie will be produced in our current society. “The Northman” is essential and critical viewing for any… Northman.