Vikings, os Conquistadores

SPOILER: Many thanks to vaughn.birbeck for giving us the historical background of "The Vikings." It is great to know that the film has a basis in fact right down to the names of the main characters. I first saw "The Vikings" on a raw Saturday afternoon in February of 1959 with my brother and my best friend, Buddy. When the show was over, we ran home full of excitement. My brother and I burst into our house to find the Hall family was visiting. Catching our breath, we choked out, "We just saw the greatest movie of all time! It's The Vikings! It had Vikings and knights and they were sailing across the poison sea and attacking the castle and shooting arrows and throwing axes and chopping off hands with slashing swords......"

When Mr. Hall retorted, "Now don't you think it is unfortunate that people can't find other ways to settle their differences?" I felt, "Oh, boy! I hope I never get so old that I think like him and can't enjoy 'The Vikings'."

It was the thrill of my brother's life as an adult to ask Kirk Douglas on a New York studio talk show, "Did you actually jump across the moat to grab onto the axes in the drawbridge door, or did a stunt man do that?"

Kirk's answer was, "I wanted to do it but the insurance company wouldn't let me."

Even now I love the film but two things about it bother me. Great actor that he is, Kirk Douglas is just too nice of a guy and too good looking to be convincing as Ainar. Edison Marshall's book "The Viking" on which the film is based portrays him by the name of Hastings more like the character of Barnes as played by Tom Berringer in "Platoon." In "The Vikings", Ragnar introduces his son Ainar as someone who is "so vain of his beauty, he scrapes his face like an Englishman." Hastings is not charming or vain but tough and so cruel and even sadistic that after Eric's hawk tears up his entire face (not just his eye), Hastings delights in the horrifying effect his facial scars has on the victims he kills and rapes. The women scream, his facial scars dance as he laughs at their horror, the women scream even more in horror.... Hastings, like Barnes in "Platoon" clearly is a guy other Viking warriors hold in awe and whom Eric really wants to see dead. But in the film, Ainar is just a good looking, charismatic, fun guy we actually pity when after crossing the poison sea, storming the castle, jumping over the moat, climbing the tower, and crashing through the stain glass window to get to the love of his life, Morgana tells him he isn't her type.

The other thing that bothers me about "The Vikings" is the miscasting of blond, buxom Janet Leigh as the Welsh princess, Morgana. Eric and Hastings were used to having blond, buxom Scandinavian women around them all the time. It was the novelty of the cute, demure, petite, brunette Welsh Morgana that captivated them and motivated them to engage in an adventure that involved scores of ships sailing the Mediterranean before they finally engaged in their showdown at high noon with crossed swords.

When I was a boy of 11 years, I admired the reconstructed Viking ships near our cottage at the Hardanger fjord. It was the year 1957, when Kirk, Tony and Borgnine visited our country and participated in this beautiful movie... In a funny sort of way, the picture makes us Norwegians proud of that brutal past... I have seen it many times, and am struck by the surprisingly "right" atmosphere, touched by the landscape that I know so very well, and fascinated by the action. OK, so it's Hollywood, but somehow, I have the feeling they don't make movies like this any more. Pity! Well, maybe I'm getting old.

Believe it or not the plot of this film has a basis in fact. There was a Viking leader called Ragnar Lothbrok (Leather-breeches) who was put to death in a snake -not wolf- pit by Aelle, king of Northumbria, at York in the year 865. His son 'Ivar the Boneless' raised a Viking army, invaded Northumbria and killed Aelle.

The film builds on this to include an illegitimate half-brother and rivalry over a beautiful Welsh princess to create a story of rousing, full-blooded action.

The film has a great atmosphere which is hard to put into words. You can almost sense the harshness of the climate in a way that makes you feel you are there. The climatic fight scene between Douglas and Curtis is a good example of this. Brilliantly staged on the roof of a castle overlooking the sea, you hear the whistling of the wind and crashing of waves against the shore below. The photography emphasises this sense of height and space to create one of the best film fights I have ever seen.

There are glaring errors, of course. The Anglo-Saxons never had castles like the one here, or ships of the type used by Princess Morgana: these both date from 500 years later.

I learned all this when (inspired by the film) I studied the Viking era at University. Between you and me, the film was a great deal more fun!

This film actually holds up very well in today's show-too-much and CGI blanding effect environment.

Douglas, Curtis and Borgnine run away with it all, and Janet Leigh is rather breathtaking.......

Combat scenes are coarse and brutal, not "300" level, but tough nonetheless. Stunt work is top notch.

The quality of the film, the color, the scope, the natural sets are worth purchasing the DVD for alone. The beautiful score is actually one of the most haunting melodies I have heard in my life.

The tension leading up to the assault on the English castle is dead-on....no music for the most part, just unrelenting marching, and the dread on the faces of the castle defenders.....very satisfying movie experience.

Big budget, starry-cast, historical, make that almost pre-historical, action movie where a one-eyed Kirk Douglas plays a rumbustious (that's putting it mildly) Viking prince and his unwitting half-brother Tony Curtis (the offspring of Douglas's dad, King Ragnar's, rape of the British queen on a previous raid, years before) a soon-to-be one-handed British slave who are both vying for the love of Welsh princess Janet Leigh, whilst Ernest Borgnine as Ragnar eggs his boy on from the sidelines. There's also a minor sub-plot about the Vikings crossing the water to remove from power the new, cruel, usurping English king who's tricked Curtis's Eric out of his birthright to be king himself and who to seal the deal just happens to get himself betrothed to the young Leigh.

The movie is beautifully shot in natural light in and around actual Norwegian fjords which look superb in big-screen colour and the recreation of the Viking long-boats by the film's carpenters is also remarkable, but if I'm starting a review by praising the backgrounds, it probably means there's a want in the foreground, and so it proves.

Douglas's boorish Einar looks old enough to be Eric's half-father and his usually drunken behaviour hardly endears him to the viewer. At one point he is determined to rape Leigh's Princess Morgana and is only stopped by Curtis's timely intervention. Curtis's character, unusually, is a man of few words but even with a beard, the young Tony doesn't completely convince playing it strong and silent. The object of their affections, Janet Leigh, appears able to bewitch these two the minute they clap eyes on her, which I suppose is fair enough as she does look lovely in her robes, but she's not really required to do much between simpering and occasionally seething.

There are some odd scenes of I presume authentic old Viking customs, if you exclude feasting, drinking and womanising on a Henry VIII scale that is, like "walking the oars" and strangest of all the method of proving a wife's infidelity which involves putting her in a set of stocks, then nailing up her outstretched hair plaits and inviting her allegedly cuckolded husband to free her by throwing axes to sever her plaits. Talk about being saved by a hair's breadth. Elswhere there's no stinting on the crowd scenes and the battle scenes are reasonably exciting if not wholly convincing.

This film was reasonably entertaining as a spectacle but for me was let down by the hackneyed plotting, use of extreme coincidence and shallow characterisation. Douglas and Curtis of course would get back into tunics and sandals a few years later, but this time with a better tale to tell and under a master director in Stanley Kubrick. To paraphrase a famous line from that movie however, this film here isn't "Spartacus".