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FLIPADELPHIA posted:I think Eggers has come out and said that one of his main goals in making this movie was to undercut the mythos of Viking culture as being heroic warriors full of martial virtue. White supremacists have done their best to coopt Norse iconography and this was Eggers basically giving those people the finger. Yeah, it makes clear that he has gained martial prowess at the almost total cost of his humanity. That thin sliver of hope that he is not a total beast is shown when he doesn't partake in the massacre of the unarmed and shows some kinda-sorta disdain when the fisherman is shot earlier. It's not much. When he went back to the burned-out town hall, I was hoping he'd look for survivors or kneel and ruminate over their ashes but no, it's because he heard Björk' call.
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Sep 16, 2022 15:57
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Professor Shark posted:This scene stuck with me the entire time I watched this movie and really took away enjoyment I may have had for it. I had sort of the opposite reaction. The scene stuck with me the entire movie and vastly improved my enjoyment of it. The scene firmly grounds Amleth and establishes him as a man of his circumstances. Everything Amleth does in the film is done on the backdrop of his participation in the raid. The viewer recognizes that Amleth’s journey bears no moral weight, which lends the film a sense of narrative purity. There is no good and bad here, no right and wrong. Amleth is a hero in the classical sense, but we are not asked to identify with him or to justify his terrorization of Fjölnir’s settlement.
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Sep 16, 2022 16:22
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What bothers Amleth isn't killing and enslaving a whole village or murdering some foreigner just for the hell of it because those are normal things in his world. It's his responsibility for taking revenenge and not to run from his fate which weighs on him. I think his motivations are deliberately alien to the audience. It's not the romantic and heroic viking story we're used to but a whole different experience we can't really sympathize with at all.
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Sep 16, 2022 16:37
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As has been remarked by others, all of Eggers' films contend with the fact that people from different social contexts have totally alien moral frameworks from us, and their internal morality is completely subordinate to their material circumstances and upbringing. Until pretty recently if you conquered a village it would be assumed that all the inhabitants automatically became your chattel to dispose of as you wished. The past is an alien country.
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Sep 16, 2022 16:39
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One thing I noticed which it would be fun to read about if someone wanted to explore it is that both Amleth and Fjölnir talk about the other's evil and the necessity to extinguish it. I only watched the movie once but I distinctly remember the word evil being used that way.
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Sep 16, 2022 16:45
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Was wondering if all the night shots were shot with natural light, the stars looked real in most of those scenes. Is there any where I can read more about the cinematography? Really great stuff if its all done in camera.
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Dec 1, 2022 11:44
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toggle posted:Was wondering if all the night shots were shot with natural light, the stars looked real in most of those scenes. Is there any where I can read more about the cinematography? There's an extensive technical writeup here: https://ascmag.com/articles/the-northman It's a bit of a difficult process to summarize, but the TL;DR is that most of the look was done via photochemical processes. For sequences that were entirely moonlit, they shot day-for-night using a filter that cuts out any color not on the green-cyan spectrum and then desaturated that to a near monochrome. It caused warm colors to become darker, as they appear to human eyes that are using only their rods, as at nighttime. Sequences with firelight were more complicated. For those, they used HMIs with extremely low pass cyan filters for moonlight and also put a mid cyan filter on the camera lens. The result was that the cyan HMI light would pass through unaffected, but the firelight would be made more neutral. Then they printed everything on a pure red negative. So, the firelight would be warm but the rest of the set would be monochrome as the cyan light and red negative canceled each other out. Again, this is to emulate the way firelight appears to human eyes at night, because anything past a certain luminance threshold will register on your eye's cones which see color, but the rest will only be seen with your rods which only read in monochrome. The last stage was a digital sky replacement. No way around that with cameras as they work today.
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Dec 5, 2022 07:23
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Bugblatter posted:There's an extensive technical writeup here: Wow, that’s awesome, thanks for the explanation. Here I was thinking they shot it all with natural light  Has this technique been used before?
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Dec 5, 2022 08:29
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A similar technique was used in Nope.
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Dec 5, 2022 08:34
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Nope used a beam splitter (the kind typically used for 3D films) to record with two cameras, one of which was recording a conventional color positive while the other recorded an ultraviolet exposure. The luminance data of the latter digitally combined with the color data of the former in a process they haven’t been totally transparent about yet. They’ve said it required a lot of vfx work beyond the digital sky replacement (with they also did). They’re rather different processes and they’re the first attempts for both. The Northman mostly uses traditional photography tools in novel ways, while Nope leveraged modern tech. They each had great final results which are a significant cut above standard night imagery in film.
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Dec 5, 2022 17:23
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I liked the bits where the grown men pretended they were dogs.
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Dec 17, 2022 15:25
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Extra row of tits posted:I liked the bits where the grown men pretended they were dogs. You never know when a latent furry kink will reveal itself
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Dec 17, 2022 17:39
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