Les Vikings

A handsomely staged silent epic created to showcase the new 2-strip Technicolor process. All the male leads fall for Viking maiden Helga (Pauline Starke, looking exceedingly fetching in her Viking outfits), but there's little doubt about which of them will claim her heart. Worth catching for the sight of a young Donald Crisp looking like a drummer in some early 1970s prog rock band.

THE VIKING (1928) is a well made actioneer from the 'swan song' of the 'Silent Era'. Like most late silent films it had a synchronized soundtrack which featured music, sound effects and muffled voice overs. The most salient feature of the film is its brilliant Technicolor, using the new, Process Three (3) two (2) color Technicolor. The print shows strong cleaning and restoration and the soundtrack is quite clear with little distortions. The acting is natural as per the late 'Silent Era' and the title cards informative without being intrusive. This is a independent production by the Technicolor Corporation released through M.G.M. The basic plot is one of exploration and the conflict between the new accepted belief of Christianity and the older Pagan ones.

DONALD CRISP (1882>1974) leads the cast as Leif Ericsson with Pauline Starke, Helga Nilsson the main feminine interest. The other male lead was LeRoy Mason, Lord Alwin, Helga's eventual love interest and mate. Mason after this film confined his acting too 'B' Westerns with various 2nd tier and 'Poverty Row' studios. Like-wise Ms. Starke career all but ended after Silents. As for DONALD CRISP, he looked fit and authoritarian in this picture. Mr. Crisp handled his action sequences well, no surprise since he had done so before in DON Q; SON OF ZORRO (1925) a Douglas Fairbanks production. After a successful career both in Acting and Direction during Silents, he went on too triumphs in Sound as a character actor. A career that spanned 1908>1963. Winning the Academy Award for Best Supporting Actor for HOW GREEN WAS MY VALLEY (1941).

There are several other points of interest of this film. At the end there is a specious claim that a 'Watch Tower' in Rhode Island was of Viking origin, built by Leif Ericsson. Dating has shown it to be no earlier then the 17th Century. Some of the coastal exteriors appear to be shot at the same location as Douglas Fairbanks THE BLACK PIRATE (1925). Which the Technicolor Corporation provided its expertise and technology. Then finally two (2) of the supporting actors. Richard Alexander, Sigurd went on to more notable fame as PRINCE BARIN in the first two (2) FLASH GORDON serials. Uncredited Frank Shannon appeared as a Viking in Eric The Red's 'Kings Hall' in Greenland. He is better known as Dr. Alexis Zarkov in all three (3) FLASH GORDON serials.

THE VIKING moves along at a good quick pace and has little padding, running at only 90". It is worth watching just for the Historical value as one of the earliest complete Technicolor features, but does not cheat in either action and acting. True the music and staging appears to come via a Richard Wagner opera, but there is nothing wrong with ripping off the best. A good all around watch.

THE VIKING of 1928 still appears to be, in a way, a strikingly absorbing picture. Although it seems that any commitment to viewing this movie may be a privilege of some little group of film scholars, claiming that it leaves no impression whatsoever would surely belittle the significance of silent cinema along with its unique appeal. Obviously, it could not stand a chance against many modern 'pseudo-epic adventures' that heap us with cheap effects which, at moments, cross dangerous borderline placing us at risk of being deprived of imagination. With that in mind, its two strip Technicolor effects would merely appear laughable for some but, paradoxically, renewing for others. Yes, some of its awe-inspiring charm that initially contributed to its adventure merit, still remains.

A misleading assumption lies in a viewpoint that solely two strip Technicolor (for which the movie is most famous) makes THE VIKING worth seeing. Of course, it is impossible to miss this point when even mentioning this movie. Nevertheless, what strikes me most about this film is its storytelling and the fact that it evokes the courage of the Vikings no less than their cruelty. Meanwhile, it does not fall into temptation of reducing them to sheer savages from a purely subjective standpoint of 'baddies.' So to say, such an early achievement becomes authentic and, at the same time, gains realistic targets. It is not only executed in the character of Leif Eriksson (Donald Crisp) who travels towards the new shores but, even, in Erik the Red (Anders Randolf), his father. The sophisticated nature of his character is prompted by contrast within him. On the one hand, his axe is used against his political and religious enemies, even his own son when he discovers his new faith. One the other hand, he draws a very humane conclusion in a memorable scene: 'Leif is my son after all.

THE VIKING with no great stars of the time (being an MGM production), contains all the pictorial elements that we find in cinema of any decade. It substantially depicts love, revenge, fight. We have a Northumbria context of Alwin (LeRoy Mason), taken as a slave, we have a beautiful prototype of female warrior, Helga played by Pauline Starke (of course, a blonde beauty as it is a movie about the Vikings after all), we have kings of two opposing policies, we have this eternal conflict between Christian faith (represented by King Olaf of Norway and his followers, including Erik Leifsson) and pagan cults (represented by Erik the Red, Leif's father, the king of Greenland). Predictably, the Christians are depicted as loving, understanding and forgiving while the pagans are cruel. Yet, there is some nobility in both groups (again with reference to a more psychological approach). Their confrontation, however, is one of the most authentic moments of the theme ever found in silent cinema. Finally, we have the theme of new land, promised land, America (yes, long before Columbus) so much appealing to the audiences of the late 1920s.

But the film is no serious stuff and it should never be treated like one. It is, first and foremost, adventure and entertainment. Just to recall some scenes that have truly stood a test of time and are no less entertaining than they must have been in the late 1920s, including the depiction of Greenland, Vikings' feasts (less savage than in 1958 Fleischer's film), love plot between Alwin and Helga, Egil/Alwin vibrant fight. On the subject of Helga, the beautiful warrior blonde, much credit to Pauline Starke's inspiring performance. The idea of such a female character was not new in this period of silent films. We should remember the lost film QUEEN OF SHEBA and the famous chariot race of the queen and princess Vashti. Nevertheless, Starke's portrayal must have occurred revelatory as early as in 1928 combining appeal and authenticity.

I agree with the opinion of those viewers who praise this film and recommend others to seek it out. Perhaps, it is flawed historically; surely, it is no towering entertainment for viewers used to most dazzling spectacles of our decade. Nonetheless, I believe that anyone may find something for themselves in this early Technicolor treasure and find its reasonable running time fruitful and memorable.

THE VIKING is a film I happened to come upon on TCM the other night, immediately recognizing DONALD CRISP as Leif Ericsson. I was very impressed with the female lead, PAULINE STARKE as Helga, whose lovely face, high cheekbones and steady gaze withstood all those color closeups in fine style. She also happened to be well cast at the headstrong heroine who takes a wealthy nobleman for her slave.

But what really amazed me is the quality of the Technicolor photography, at least ten years before Hollywood was making use of color photography in some of its major films.

The TCM print featured some incidental sound effects and background music. At times, I forgot I was watching a silent film and the use of title cards was minimal.

Well worth watching as a curiosity, but not for historical accuracy.

"A thousand years ago, long before any white man set foot on the American shore, Viking sea rovers sailed out of the north and down the waterways of the world." "These were men of might, who laughed in the teeth of the tempest, and leaped into battle with a song." "Plundering - ravaging - they raided the coast of Europe - until the whole world trembled at the very name… "THE VIKINGS!"

"Looking out upon the North Sea from the cliffs of England, stood the castle of young Lord Alwin, Earl of Northunbria." Here, good-looking young LeRoy Mason (as Alwin) and his subjects hope their Christian faith will protect them from Viking marauders - but the Lord has other plans for this group (and, you'll know what God has in mind when you see the placement of Christian crosses in North America). The looting and killing Vikings ravage Mr. Mason's English castle. Valuables are taken to Norway, where able-bodied men and women are sold into slavery.

Mason is purchased, for three pieces of silver, by beautiful red-haired "sea rover" Pauline Starke (as Helga Nilsson). The comely Viking lass is obviously buying slave Mason with sexual pleasures in mind, and throws him some lusty looks. Mason proves to be too spirited and independent for Ms. Starke to control, and he is given to guardian Donald Crisp (as Leif Ericsson), the famed Viking leader. A courageous Christian-converted warrior, Mr. Crisp hopes to claim Starke as his bride. But, handsome Harry Lewis Woods (as Egil the Black) is also in love with Starke.

This love quadrangle goes on Crisp's great seafaring adventure to discover, and claim, the "New World" for European conquerors - at the risk of falling off the edge of what they thought might be a very flat Earth. "The Viking" (it should have been titled "The Vikings") is briskly directed by R. William Neill, with moderate action throughout. Either he or Starke should be complimented (or condemned, if you will) for the movement of her character's legs, upon introduction; you don't see this often - and, it's… IN COLOR!

Specifically, "Technicolor" - which is this film's mail calling card. While not perfect, the color is strikingly well-preserved. As a bonus, it was made during the "silent film" era, and survives with its original synchronized sound effects score. This level of coloring was painstakingly produced, and was quite expensive. "The Viking" represents a peak in the art of color filmmaking.

******** The Viking (11/2/28) Roy William Neill ~ LeRoy Mason, Pauline Starke, Donald Crisp, Harry Woods