Alternate Best Actor 2022: Alexander Skarsgård in The Northman

Alexander Skarsgård did not receive an Oscar nomination for portraying Amleth in The Northman.

The Northman tells the tale of Amleth, the inspiration for Hamlet, about a Viking prince who must avenge the death of his father at the hands of his uncle. 

Alexander Skarsgård takes on the role that eventually would inspire Hamlet, though, in this version of the story, it is fair to say Skarsgård's Amleth has more in common with Maximus Decimus Meridius than most depictions of the Danish prince. I will bluntly say Skarsgård hasn't been a favorite actor of mine going into this film, not that I hated him as a performer, but more often than not I felt it was just "there" as a performer. As Amleth, under the guidance of Robert Eggers's visionary direction, this appears to be the role that was meant for Skarsgård. Partially this just is very strictly speaking physically needed for the role, that of a classical barbarian, as we are introduced to Amleth as an adult here on a wayward path as part of a Viking raiding party, Skarsgård being cut for the role quite literally. Skarsgård's physical work though is down to carb counting and protein intake, and while this is an essential facet of the character really, it isn't all there is to Skarsgård's performance. Skarsgård embodies the berzerker fully in every inch of himself as we see the sheer ferocity of his performance that does carry with this animalistic insanity as we see Amleth go about his "task" of slaughtering defenders of a village in the raid. Skarsgård becoming every inch of that force for violence that is incredibly striking all on its own. Skarsgård's presence here is absolutely tremendous in every sense, in creating this warrior of old, but also in this instance becoming a very specific screen presence that is essential for such a film. 

Often times acting in films of Northman's ilk can be less considered but in many ways, it is actually more essential than many films in terms of making the world convincing. The truth is this sort of material, even with Eggers's attention to detail and crafting such a vivid aesthetic, can fall apart instantly if the actors seem even slightly detached from the period. Northman avoids that by having a fully invested cast nearly across the board, however, Skarsgård is the focal point of it all, and thankfully for the film, he perhaps is the most invested in the material. Part of that is the aforementioned physicality but goes far beyond that. Skarsgård achieves the most essential element which is just simply being Amleth in the man who also transports us to this time. There isn't a line in his performance that never feels off despite being not only written to reflect the period but also with Amleth having to deal with really some of the most operatic notions within the piece. Skarsgård's performance doesn't wink, nor does it seem to force the style of the piece, he rather embodies and amplifies it so powerfully. Skarsgård speaks every line with an absolute conviction that speaks to the period as would a Shakespearean actor with any lines from the bard. With these lines that could be even more twisty potentially, Skarsgård makes them sing in their way, and behind them is this absolute ferocious truth within every word. Skarsgård's work does what is so remarkable it manages to embody the period as much as the aesthetic and embody the tone of the mythical legend in such a way that brings to life the grandeur of a piece but without losing any sense of essential humanity within it. 

Where there exists still the challenge yet is when Amleth is not speaking, which for the first half of the film is more often than not, Skarsgård must carry the film through silence. Skarsgård with that in mind does have a greater connection with any performer trying to lead a sword and sandal epic as the stoic lead, which is itself often handwaved but a specific challenge all its own. A challenge that Skarsgård charges head first into meeting it with every bit of determination necessary. His performance though absolutely brings you into his presence in that way, and one of the powerful examples of it, as Skarsgård face throughout this film is a fascinating kind of juxtaposition on all its own. Because in a certain sense, he is the stoic man, in which he is just compelling in that internalization. What is tremendous though is what he can do within that certain often purposeful constriction that never feels like a constriction. He tells the story of Amleth so often just through his face and does not falter within that. Take for example the raid sequence in which after his berzerker ferocity dies down, Skarsgård's eyes are distant and that of resignation as he looks upon the rest of the slaughter showing a man very much in an aimless state among the barbarians. Contrasting that with when a witch condemns the shirking of his fate, or really any of the witch or spiritual guide speaking of any ilk speaks to Amleth. As much as the other half's delivery is essential to such prophecies, it is Skarsgård's performance that grants them a connection. As in his eyes, and his reactions, he not only grants them profound tangible gravity he also personalizes them within the connection to Amleth, showing the man realizing his purpose, not as something that gives him relief but rather as this weight upon his soul. 

When Amleth finds his way to his uncle, now an exile with his family, lending himself into slavery in order to exact his revenge, Amleth takes upon different roles in turn so does Skarsgård. Skarsgård is great in presenting the guarded presence of the slavey who retires from most sight and does not seem to want to be looked upon, let alone do anything beyond what is expected of him. In that, though Skarsgård at a second's notice presents the cunning glint in the eye of Amleth. Skarsgård with as much ease conveys the sort of calculator but with a sense of the emotional connection of the man coming back to his stolen home, seeing his mother, and seeing the uncle that betrayed his family. Skarsgård doesn't simplify the emotion just because of the nature of the role seemingly as stoic, he is able to still have that stoic presence at times while bringing so much of a sense of the internalization of Amleth's struggle just underneath the most immediate surface. Skarsgård in a funny way perhaps is the bridge between what the studio probably wanted from the film and what Robert Eggers wanted, to which I honestly think the medium we found was fine by my measure. Skarsgård though achieves that by on one end being the proper expected "hero" (well Amleth technically falls under "least bad") with his commanding often quiet presence however just behind that filled with emotion and this is even through the romance we get with fellow slave/witch Olga (Anya Taylor-Joy). The latter even, Skarsgård brings the same conviction to as the romantic lead, not that this is that in a straightforward way, rather Skarsgård achieves this by in these moments with Taylor-Joy showing even this tiniest bit of relief of the man's burden albeit even for a moment. A glint of sincere affection, hope even, which speaks volumes even when lessened to even this minor degree. Again Skarsgård is the expected "hero" but achieves it not in exactly the old-school way. 

Skarsgård's performance realizes particularly potently both what you want from such a character in terms of the expectation but it also ends up being not quite the expectation as well. And no scene speaks more powerfully to this than the moment in which he goes to confront his mother (Nicole Kidman) ostensibly to offer his rescue for her from his terrible uncle. Unfortunately, rather than show her appreciation she rather reveals that she was glad that his father was killed having hated him the whole time. Skarsgård's reaction in this scene is amazing because in his eyes it is just horror or heartbreak to find out this truth, there is this fundamental break in his whole reality. The vulnerability suddenly that he reveals within Amleth at this moment is so tremendous and the sense of real disbelief at it is so profound in every second of it. His mother crushes the specific reality of his mission, and Skarsgård expresses the brutality this is upon the very concept of his life. And within this, vengeance in a way no longer is the simple quest to kill the bad guy and save the day for everyone. There is of course the dark ferocity as he goes about the remainder of his quest, which changes as he must defend the potential future of his own progeny, Skarsgård effectively playing contrasting notes between the real warmth in his moments with Olga against the sheer intensity of his violence as he goes about killing everyone associated with the old murder. There is no disconnection however as Skarsgård plays each note as truthfully as the other. And in turn, gives a more complex realization of this "hero's" journey, which again throughout hasn't been about satisfaction but rather this expectation of destiny to a degree. Take for example the final moment where the two men lay out the gauntlet for their duel, in this moment, where Amleth has killed two her swore not to, though really he had very little choice in the matter, Skarsgård's face isn't of satisfaction but rather a kind of resignation. Again though on the theme of subversion with living up to the expectation, Skarsgård delivers that in the final duel in the belly of the volcano, and I just want to highlight the great screaming acting that marks the final moment of his performance. Screaming can be pretty ridiculous on its own but  Skarsgård shows how to properly activate it here in the final moment where it appears he may die without achieving his goal. His screams begin as just the visceral pain of his wounds, however, with each scream Skarsgård conveys the man finding his strength and determination until his final one is filled with such tremendous power. A particularly brilliant bit of performance, as it is just all screams, but with each scream, Skarsgård managed to convey that final will to fulfill his destiny. Skarsgård delivers here a great performance that meets the challenge of this role. He is the stoic hero seeking revenge, but he is also so much more than that. Completely convincing us of that journey, of this world, but also enriching it with a genuine emotional depth through all of it.