In 1982, “Conan the Barbarian” enticed audiences with a poster promising four phases of a rough man’s rough life: “Thief. Warrior. Gladiator. King.”
“The Northman,” which wanders narratively but, as cinema, basically eats “Conan” for breakfast, follows what might be considered a similar career path: Prince, followed by Slave, then Viking Marauder, and finally Newly Sensitized Lover and Potential Family Man.
Alexander Skarsgard takes the title role, as well as taking a fair bit of on-screen punishment en route to a climactic battle at the Gates of Hel (one “l” in this hell, for the record). There, at Hel, Amleth, played by Skarsgard, wields his mighty sword against his kingdom-usurping uncle (Claes Bang) surrounded by rivers of flaming molten lava. They’re nude, discreetly silhouetted, and as in much of “The Northman” the scene’s melding of digital and practical effects and design strategies doesn’t lead to the usual fantasy generica. Robert Eggers creates worlds that used to be, or never were, but thanks to his chosen medium, there they are, vivid and alive.
