Í skugga hrafnsins

I saw this movie about 10 years ago in Cincinnati under the title "Shadow of the Raven." It was subtitled, obviously, and it was an excellent movie. I would love to see it again. I wonder if it will ever come out on video? It is such a shame that great movies like this are so quickly "forgotten."

I just saw the movie here at Rice University. I was very lucky because the director was here with us brought by our English Department. He was very kind to share stories and anecdotes about the movie and answer our questions. I must admit I am very biased because I'm in love with Iceland but if there others over there like me, we do need to see this movie. Gee...I'm still in the XI century with all that people fighting against that landscape and those brave men. Anyways, it was very nice to talk to the director (the Icelandic consul was here as well) but I'm serious, the movie is really, really powerful. Excellent. Who wants to see the Lord of the Rings after this?????

I Skugga Hrafnsins--released in English-speaking countries as Shadow of the Raven--is essentially Tristan and Isolde, Icelandic style. During the late 11th century, Iceland is gradually being converted to Christianity, but old ways die hard. Tratusi (Reine Brynolfsson), a young Norseman, returns home to discover that his family is embroiled in a deadly feud...over the beached carcass of a whale. When the rival clan leader is killed, he is replaced by his daughter Isold (Tinna Gunnlaugsdottir) To assure that peace will reign in the region, Isold is promised in marriage to the son of the Bishop of Iceland (Sune Mangs)--who, despite his position as official spokesperson of Christian values, is corrupt and power-hungry. Isold would be willing to swallow her indignation and concede to this marriage of diplomacy, but she has fallen in love with her "enemy" Tratusi. Her plan to follow her heart while seeming to follow her duty inevitably ends in tragedy. Slow going for non-Scandanavian audiences, I Skugga Hrafnsina picks up tremendously in its violent final third.

Compared to the first episode of the saga (although the plot has nothing to do with this one's) - it's obvious there's more budget, and that makes for much better camera work and costumes.

Also, (and although budget shouldn't have anything to do with it), now there's a plot. The same theme (revenge) is treated in a much more interesting way here. One key way in which this movie is more effective is that we get to know the character(s) before they die. We see treason. Therefore when the main character wants revenge, it doesn't seem completely gratuitous: We actually understand his motives and even root for him.

The "Christianity in Iceland" theme, which was already here in the precedent movie, is also much more interestingly developed. Trausti is a believable "convert": He professes his Christianity and he wants to believe in "Jesus Christ" but in the end he is a Norseman who (presumably) grew up with Nordic beliefs. He believes in Vengeance, he believes in Jesus Christ but isn't entirely indifferent to Odin (and for someone raised in a polytheistic faith this is only natural).

It doesn't hurt that (most of) the first movie's ridiculous synth-peruvian-flute score has been abandoned in favour of more time-appropriate medieval tunes. The camera work is also much better, with beautiful landscapes and the feeling that Iceland is bigger than *that one shore*.

All around a surprisingly good movie (even though the best Viking movie around in my opinion still is, by far, Utlaginn).

The Shadow of the Raven is bigger in scope and conception than the only other Icelandic film of its kind (Outlaw: Gisli's Saga). It portrays not only a feud between two families, but the conflict in medieval Iceland between the ancient pagan religion and encroaching Christianity. Naturally, the advocates of Christianity use it for their own political purposes. The other big themes of medieval literature are there as well: conflict of loyalties, treachery by trusted friends, romantic attraction between enemies, and revenge against all odds. The film makes some concessions to modern cinematic conventions - the dialog is not always as terse and ironic as you find in the sagas. But the film is still very authentic, and the action (though it flows from the characters and situations) is not easily predictable.